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Lambchop Live on La Blogothèque

Podcast produced by La Blogothèque
Directed by Nat

Lambchop is a band that is full of contrasts, of subtle nuances that you’re never sure you have completely grasped. It’s a band that mixes wildly different ingredients: the flavors blend nonetheless, until it becomes almost impossible to separate them again. Here are two things you’ll find in all of their discography: a pinch of humor and a good swig of levity.

Because they spend so much time speaking in hushed tones of twilight ambiences, it’s easy to forget that the men of Lambchop, and Kurt Wagner the leader, are, much more often than it seems, pouring on the sarcasm. And, yes, in this Take Away Show, you’ll see them laugh. Not roaring laughter—but soft, like laughter between old friends that find comfort in their complicity. You’ll see him hang the lyrics of their song on the back of a friend, who gets transformed into a man/sandwich-board hybrid. There’s a sense of mischief with these guys.

As you hear them repeatedly unfold their dark, plodding folk with its slow-motion tempo, you forget that the men of Lambchop are usually specialists in levity. Each of their notes is retained as long as it can be, and each falls to the floor like autumn leaves that let go of the tree when their moment has finally come. However, this isn’t a Mark Hollis- style retention: it’s not a painful holding-on. It’s more a languid method, nearly carefree in its slowness, forged from an outdated sensibility of taking one’s time. (Copyright KMS on this idea.)

And now, in these videos, you’ll hear the bittersweet lyrics, sarcastic and not terribly optimistic, of “National Talk Like a Pirate Day.” You’ll hear the guitars stack over each other, turning one over the other, and finally taking flight. It’s a sweet take-off, calm and serene, a tiny crystalline tornado that sweeps up only some dust and a few leaves.


Réal : Nat

Tourné à Paris

You’ll hear the deceptively adolescent tune (if teenagers could be capable of weightlessness) of “I believe in you”, and its way of taking hold, slowly, very slowly. Like building a house of cards, somewhat. Watch the city around them, too: the musicians are hidden in an unpopulated alleyway, and the little street doesn’t seem to realize what’s happening until the last minute, until everything is almost done. Hidden in the middle is the band’s final promise, their credo that almost nobody hears: “I believe in music.”


Réal : Nat

Tourné à Paris

And then you’ll hear Kurt Wagner’s voice. If Antony is the voice of the new age, then he — this old, greying patriarch surrounded by young musicians who, it seems, could almost be his kids—is the voice of yesteryear.

- Translation by Caitlin Caven

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March 24, 2009 Posted by | Lambchop, _MUSIC, _VIDEO | Leave a comment

Sigur Ros Live on La Blogothèque

Podcast produced by La Blogothèque
Directed by Vincent Moon

We don’t go into la Closerie des Lilas. We pass by the front, we see some rich and paunchy people on the terrace meticulously protected by a wall of greenery, we smell the perfume of the oysters, but we don’t go in. Someday, we’ll have the occasion to go in—a family reunion organized by a wealthy old aunt, maybe. Or we’ll be invited to talk logistics of a festival, and spend the entire afternoon on the covered terrace. This was the case for Moon, who had just gotten back from Tanzania, and found himself wedged there, at la Closerie. He would go in, for the first time, to film the Icelanders.

For me, the equation is as follows: the band is staying at the Kube hotel, north of Paris; their equipment is at porte de la Villette; Moon and his camera are wedged at la Closerie, in the south of Paris; and, obviously, Sigur Ros are playing at Zénith this very evening. We only have a little time.

The first person passed by, and this guy will leave us with the best memories— he’s John Best, their manager. A 50-something English man in all his splendor, ‘70s glasses, classic raincoat, beige scarf and classy mustache. He makes us forget about the long saga of the sick bassist, about the rest of the band who’re fading fast.

We bought a bucket at a bazaar in a side-street, and we decided not to bother pulling out the costumes. We moved some tables to set up a splendid harmonium, we took over the piano, and everything seemed ready… the only thing missing was two drummer’s brushes, which weren’t in the van. Some guy had to go back to Villette to look for them.


Réal : Vincent Moon

Tourné à Paris

While we wait, we ask the group in vain to play a few other songs in the mean time—any song that doesn’t need the brushes. They decline.As John reminds us, they’ve never done anything like this before—they usually don’t perform acoustic. We just have to wait, and not add to the looming pressure of tonight’s huge concert.

Still waiting, we rummage around la Closerie. We chat with elegant old couples, we watch from afar as a fat businessman absentmindedly strokes the hair of a girl 20 years his junior, and we let ourselves be cradled by the incessant waltz of guys in vests running and pivoting with their plates filled to the brim.

Little by little the room empties, the remaining diners drag out the final moments of their lunch, and then the drumsticks arrive. The environment is tense, but they jump in. A few notes on the harmonium, and an incredible voice that it would have been a shame to exhaust. We don’t know if the sticks were essential. But in three minutes, our patience was repaid.

Translated by Caitlin Caven

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March 24, 2009 Posted by | Sigur Rós, _MUSIC, _VIDEO | Leave a comment

Top 10 Poodle Rock Metal bands

A scholarly analysis of the hall of shame that was eighties Poodle Rock!

The only thing worse than the hair and outfits was the muzak!

Oh, the horrors!

From backtotheeighties.

Nothin’ but a good time

One of the more distinctive music genres from the 80s was hair metal. Musicians had long hair since the 60s, but those hard rockers in the 80s just took it that little bit too far…

There is some argument about who fits in this genre, and while KISS, Van Halen and Areosmith were the model that half these bands were based, they were certainly around long before this particular scene.

Also, there is no metal in Bon Jovi and while Guns N Roses are another band that are roped in to the lot, I believe their music shows little resemblance to the following bands…


Mötley Crüe
Probably the first true hair band and the model that countless bands looked to in the years to come. They’ve showed amazing endurance and still manage to top the charts in this day and age.

Check out: Shout at the Devil is one of the best rock records ever made.

They followed shortly behind the success of The Crue and wore their Van Halen and Judas Priest musical influences on their sleeves.

Check out: Their only big single Round and Round and the underrated Nobody Rides for Free.

Open Up and Say…Ahh! was the first album I ever bought and I broke my collar bone two days before I was supposed to go to their concert….however, I did meet guitarist C.C. DeVille in a memorable interview once and many regard them as the seminal hair metal outfit and Every Rose has its Thorn as the proto-power ballad.

Check out: Every Rose and their 3rd and darker album Flesh & Blood.

English hair metal at its best. Dave Coverdale always liked to get more romantic than his American counterparts and he’s still going strong today.

Check out: Still of the Night live DVD

Def Leppard
Their Hysteria album sold more than any other band on this list and they made themselves a household name for at least a while – their drummer lost an arm and their guitarist died and they slowly went downhill.

Check out: Their hard-rocking peak Pyromania.

Skid Row
They just scraped in with a couple of albums before grunge crushed the whole scene. I have a cool photo of me and Sebastian Bach on stage together and we’re also using one of his songs at our wedding…

Check out: Self-titled debut.

L.A. Guns
The off-shoot that started Guns N Roses, this band lays somewhere in between. Underrated and underplayed.

Check out: Over the Edge single and their latest album Tales from the Strip.

Another band that scraped in at the tail end, they will always be remembered for their cheesy anthem Cherry Pie, but are well known in the industry as brilliant song smiths.

Check out: Inspired singles Uncle Tom’s Cabin and I Saw Red.

Hard-rocking hair metal girls at their best. I interviewed band founder Jan Kuehnemund of the all-girl band a year or two ago and she was all class.

Check out: Their self-titled debut

Germany’s hair metal heroes. These guys have been around forever, and they just keep on going.

Check out: Singles Rock You Like a Hurricane and Wind of Change.

Other notable mentions:

Quiet Riot, Stryper, WASP, White Lion, Winger, Dokken, Tesla, Cinderella, Lita Ford, Twisted Sister, Hanoi Rocks, Extreme, Great White, White Cross, Y&T, Firehouse, Faster Pussycat, Europe, Steelheart, Vain, Danger Danger, Nelson


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March 23, 2009 Posted by | music_HeavyMetal, _COMEDY, _MUSIC | Leave a comment

Weinberg to be replaced by son on Springsteen Europe shows


Bruce Springsteen’s regular E Street Band drummer Max Weinberg will be replaced by his son in a string of European shows this summer, so his dad can concentrate on his TV career.

Weinberg’s band The Max Weinberg Seven will take over as the house band on America’s Tonight Show in June – and the group’s first TV appearances in Los Angeles coincide with Springsteen’s shows in Europe.

So the respected drummer has offered up his talented 19-year-old son, Jay, as his E Street Band replacement.

In a statement, Springsteen jokes, “We promise to return him (Jay Weinberg) in one piece.”

Max Weinberg joined the E Street Band in 1974 and hasn’t missed a single show since. His son, who drums for heavy metal band The Reveling, has reportedly been rehearsing with the E Street Band in New Jersey for the past week.

E Street Band guitarist Steve Van Zandt recently told Rolling Stone magazine he couldn’t imagine touring without Max Weinberg: “It’s hard for me to picture a show without Max, honestly … There’s no drummer that could replace Max. There might be someone temporary that comes in and we’ll have to adjust the show accordingly.

“What nobody understands is that not only is Max a great drummer, Max reads Bruce’s mind. You can’t learn that. That’s impossible to learn. You could spend months rehearsing and you’ll never get that.”

Jay Weinberg becomes the latest rock offspring to replace his father in current classic rock line-ups – Rick Wakeman’s son Adam has taken over keyboard duties in Yes and Jurgen Blackmore has taken his father Ritchie’s place in the reunited Rainbow line-up. Meanwhile, Eddie Van Halen’s teenage son Wolfgang has signed on as Van Halen’s permanent bass player.

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March 23, 2009 Posted by | Bruce Springsteen, Max Weinberg, _MUSIC | Leave a comment

Suicide / Bruce Springsteen – Dream Baby Dream

Suicide would prove as influential as The Clash. Listening to their self-titled 1977 debut from the vantage point of late 2002, it’s all so obvious: the synthpop, techno, and industrial dance sounds of the ’80s and ’90s, and now the new New Wave of electroclash, all gesture back to that foundational album.

– Wilson Neate

A seminal track from Messrs. Alan Vega and Martin Rev, AKA the hugely influential Suicide!

With assistance from Ric Ocasek of The Cars and the inspirational figures of Englishman Michael Zilkha and Frenchman Michel Esteban (the brains behind ZE, New York’s then newest and hippest record label), the group released this famous track as the double A side single “Dream Baby Dream/Radiation” back in 1979.

The lyrics here won’t exactly win the Nobel literature prize, but the song is about much more than that and is a wonderful powerful piece nevertheless.

A song way ahead of its time, with a beautifully obsessive tone and lush, repetitive structure, Dream Baby Dream is now regarded as the classic Suicide record.

Suicide went on to be a huge influence on a slew of bands the likes of Joy Division, U2, New Order, Stereolab, Sisters of Mercy, Radiohead, The Cars and even Bruce Springsteen.

Springsteen used an interesting pared down solo keyboard version of “Dream Baby Dream” to close the concerts on his 2005 Devils & Dust Tour. See below.

Some good Suicide links:

keep that flame burnin’
keep that flame burnin’

dream baby dream
dream baby dream
forever, and ever
forever, and ever

I see that smile on your face
yeah, makes you free
I see that smile

dream baby dream
dream baby dream
dream baby dream
dream baby dream
forever …

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March 23, 2009 Posted by | Bruce Springsteen, Music_Electronica, Music_Punk, Suicide, _MUSIC, _VIDEO | Leave a comment

The Detroit Cobras – Cha Cha Twist

Tell me, baby, have you seen my sis ?

Another classic reinterpretation by Michigan’s finest – and one of the late, great John Peel’s favourite bands – The Detroit Cobras!

This cover of proto-rock ‘n’ roller Hank Ballard‘s “Cha Cha Twist was released as a single in 2004 on seminal Brit indie label Rough Trade but had earlier appeared in a slightly different version on their 1998 LP Mink Rat or Rabbit.

The band’s biggest fan detroitcobracovers.blogspot writes about this track below;

Song: Cha Cha Twist

Artist: Brice Coefield

Written: Hank Ballard

Year : 1960

Album/Single: Madison # 137

Cobra’s Version

Song: Cha Cha Twist

Released: February 24th, 1998

Album: Mink Rat or Rabbit

While I can not find any specific information on today’s selection, I have found some information on Brice Coefield.

Quite frankly, the man was involved with some legendary names in the music industry – “Bumps” Blackwell (songwriter and producer of Little Richard), Herb Alpert (co-founder of A&M records, legendary trumpet player), Lou Adler (producer for, among others, Sam Cooke, Mama’s & Papa’s, the Monterrey Pop Festival) & Phil Spector (I don’t need to explain who he is, do I?). Draw your own conclusion as to why, with all these talented people around him, he wasn’t more successful himself.

He started off in 1955 in Los Angeles with his cousin, Rip Spencer, in a variety of vocal groups. It was Brice’s father who, through jazz pianist Lloyd Glenn, that put them in touch with “Bumps” Blackwell. Calling themselves the “Valiants”, they actually were the first to release “Good Golly, Miss Molly”, one of the songs Bumps had written (Little Richard had recorded it before them but the Valiants were the first to actually release it).

It was the flip side of one of two records they would every have chart – “This is the Night” (#43 R&B / #69 Pop). The other chart success they enjoyed was as members of the Alley Cats with “Puddin N’ Tain” – released in 1962 on Phil Spector’s Phillies Label (Brice was a co-writer of the song as well).

This brief bio was culled from Marv Goldberg’s excellent R&B Notebook – check it out for yourself.

Brice had 5 records released on the Madison label from 1960 to 1961. Four were as a member of the “Valiants”, with today’s record being released simply as “Brice Coefeild”.

Interestingly enough, despite the thoroughness of the aforementioned Marv Goldberg’s R&B Notebook, there is no mention of this record. The song writing credits go to the legendary Hank Ballard (thought jazz keyboardist Les McCann sometime get’s credit for writing it as well).

I would have to assume it was recorded/released late in 1960, to capitalize on the success of Chubby Checker’s massive hit earlier in the year – “The Twist” (which was also written by Hank Ballard!).

(Cha Cha Cha)

(Cha Cha Cha)

(Cha Cha Cha)

Come on baby

Let’s do the Twist

Come on baby

Let’s do the Twist

You look fine, yeah

when you go like this

Tell me, baby

Have you seen my sis ?

Tell me, baby

Have you seen my sis ?

She knows how to rock

and do the Cha Cha Twist

Hully, hully gully

Slop and Madison, too

When you do the twist

to a beat like this

You can Cha Cha with your baby too

Your Papa’s sleeping

and your Mama’s not around

Your Papa’s sleeping

and your Mama’s not around

Well come over here, baby

we’re gonna tear the house down

Hully, hully gully (shake your shoulders)

Slop and Madison, too (hit it)

When you do the twist

to a beat like this

You can Cha Cha with your baby too

Your Papa’s sleeping

and your Mama’s not around

Your Papa’s sleeping

and your Mama’s not around

Come on baby

we’re gonna tear the house down

Oh yaa Twist

Hey baby

The Cobra’s take on “Cha Cha Twist” both speeds the song and rocks it up courtesy of classic Detroit garage guitar crunch. What’s interesting on the original is all the stuff going on in the background – all the “Oooohhhhh Aaahhhh”, “Cha Cha Cha” and “Wuh Wuh” vocals that run throughout the song. If you listen closely to the Cobra’s version you will hear them doing similar things, but buried much deeper in the mix.

I understand this was used for a Diet Coke commercial a few years back. Never saw, but it had to be cool.

They did shoot a video for “Cha Cha Twist” (their only video ?) with Meg White as “Little Red Riding Hood”. Interestingly enough, it seems to be a different version of the song that was released on “Mink Rat or Rabbit”.

Some Cobras links:

The Detroit Cobras – Cha Cha Twist

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March 23, 2009 Posted by | Brice Coefield, Hank Ballard, Music_Alternative, The Detroit Cobras, _BABE, _MUSIC, _VIDEO | Leave a comment

On the Bus with Pete Doherty

Part time muso and full time posh chav druggie Pete Doherty gave a few lucky fans the ride of their life this week.

The Babyshambles frontman rented a double decker bus and transported them to his gig in Paris. The bus was decked out with posters and pictures, and the album cover for Doherty’s upcoming solo album, Grace/Wastelands, was plastered all over the walls.

While on the trip, Doherty serenaded his fans with some acoustic tunes, including “The Good Old Days” and “Can’t Stand Me Now.”

Check out some footage below …

March 20, 2009 Posted by | Babyshambles, Pete Doherty, _MUSIC, _VIDEO | Leave a comment

Radiohead Set to Announce Summer Gigs

Radiohead‘s extremely tall guitarist Ed O’Brien has announced the band is plotting a summer tour, and that they are working on new tunes which may be debuted on the road.

Speaking to BBC Newsbeat, O’Brien said, “We are working on new material. We’ll be doing some more recording. It’s business as usual.”

No word on whether the tour will include dates in the States, but let’s all just go ahead and say a little prayer…



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March 20, 2009 Posted by | Radiohead, _MUSIC | Leave a comment

TTRH3.20 Bob Dylan TTRH Season 3 Ep 20 ‘Truth and Lies”

Bob Dylan’s Theme Time Radio Hour

Season 3

Episode 20

Truth and Lies

Original Airdate 11 March, 2009

(Streaming Country Pie Vers.)

Mp3 @ 256 kbps/ 116 MB/ RS + ES

Absolute Sound Recorder > Sound Forge 6.0 > FLAC Frontend

Theme Time Radio Hour, your home for truthful Dreams, deceitful Themes and dishonest Shemes

A lie can travel half way around the world while the truth is putting on his shoes

Mark Twain

I always tell the truth… even when I lie…

– Tony Montana (Scarface)

Welcome to the underground garage. I’m Little Steven.

We will discover that the truth can set you free.

You know who told me that joke? It was Orson Welles! And I’m dying if I’m lying.

Well, it sounds much nicer when you put it to music.

Before they started making operas, The Who was one of the great singles bands of the sixties.

It’s like some people say. The devil has all the good songs.

Hearts on fire
My love for you brought only misery
Hearts on fire
Put out the flames and set this cold heart free
One short year our love burned
Until at last I guess you learned
The art of being untrue and then goodbye
What could I do except to cry and moan
Lord, what have I done
Once we were as sweet and warm
As the golden morning sun
Hearts on fire
My love for you brought only misery
Hearts on fire
Put out the flames and set this cold heart free
Friends say it’s just a game
And that no one is to blame
Go out forget her lies
But she’ll be there and sparks will fly
My love has turned to hatred
Sleep escapes me still
God, please take this heart of mine
’cause if you don’t the devil will
Hearts on fire
My love for you brought only misery
Hearts on fire
Put out the flames and set this cold heart free
Hearts on fire

-Gram Parsons

I feel like we lost something when it became all guitars and no piano.

Fool me 25 times and maybe you’re Guitar Slim.

Don’t play that song for me
It brings back memories of days that I once knew
The days that I spent with you
oh no, don’t let it play
It fills my heart with pain
Please stop it right away
I remember just-a what it said
It said: “Darling, I love you”
You know that you lied
“Darling, I love you”
You know that you lied
“darling, I love you”
You know that you lied, you lied,
You lied, lied, lied, lied

Remember on our first date
You kissed me and you walked away
You were only seventeen
I never thought you’d act so mean
But baby you told me you loved me
You told me you cared
you said, “I’ll go with you darling almost anywhere
But darling, you know that you lied, lied, lied, lied, lied

It’s not about the length of the solo, it’s the feel. A lot of those blues records had more feel than you could ever put in a twenty minute solo.

She sounds like a spirited gal. Not the kind of gal that Faye Adams was singing about. At least if this next song is to be believed.

People see us everywhere.
They think you really care.
But myself, I can’t deceive,
I know it’s only make believe.

My one and only prayer, is that some day, you’ll care.
My hopes, my dreams come true, my one and only you.
No one will ever know, how much I love you so.
My only prayer will be, some day you’ll care for me,
But it’s only make believe.

My hopes, my dreams come true, my life, I’d give for you.
My heart, a wedding ring, my all, my everything.
My heart I can’t control; you rule my very soul.
My only prayer will be, some day you’ll care for me,
But it’s only make believe.

My one and only prayer, is that some day, you’ll care.
My hopes, my dreams come true, my one and only you.
No one will ever know, how much I love you so.
My only prayer will be, some day you’ll care for me,
But it’s only make believe.

-Conway Twitty

My advice, pick the one you like best and see the other two on the side!

Here’s another one of those records that I don’t know anything about

True love (your love)
True love (your love)
True love, baby
That’s what you give to me

True love (your love)
Your love (your love)
True love, baby
That’s what you give to me

God made the world
And he made it round
I got my baby
And I’m glad I found

Her love was meant for me
And my baby, she’ll always be

She gives me true love (your love)
True love (your love)
True love, baby
That’s what you give to me

Uh, true love (your love)
Your true love (your love)
True love, baby
That’s what you give to me

True love (your love)
Your love (your love)
Your love, baby
That’s what you give to me

Love was made, I don’t boast
When He made you, He made the most
You’ve got that certain touch
To me, baby, you mean so much

You give me true love (your love)
Your true love (your love)

-Carl Perkins

That’s why, til this day, if you have air conditioning in your car, you see their names. Hoii, Norm and Max.

We will discover that the truth can set you free.

We’ve been here for the past three and a half hours playing our favourite songs.

You’ve gotta take everything I say today with at least a grain if salt, cos half of what I said wasn’t true. And the other half was a lie. That’s the truth, the whole truth and nothing but the truth.


01 Opening
02 Tell A Lie – The Chromatics
03 “White Lies”
04 Don’t Play That Song (You Lied) – Aretha Franklin
05 “Aretha, Buses and Air Conditioning”
06 “F For Fake”
07 “Detecting Lies”
08 Don’t Lie To Me – Fats Domino
09 “Campaign Promises”
10 “Leon Chappel”
11 True Blue Papa – Leon Chappel
12 “Diogenes”
13 How Much I’ve Lied – Gram Parsons
14 Beating The Lie Detector with Penn Jilette
15 Twenty-Five Lies – Guitar Slim
16 “Sam Phillips”
17 Your True Love – Carl Perkins
18 “Gimme that Pumpin’ Piano”
19 Phone Call
20 I’ll Be True – Faye Adams
21 “Wedding Vows”
22 True Confession – Silvertones
23 “Truthful Quotes”
24 He Lied – Willie Mabon
25 “Living A Lie”
26 It’s Only Make Believe – Conway Twitty
27 “Twitty City and Dollywood”
28 “The Golem”
29 It Was A Lie – Bobby Moore And Fourmost
30 “Pinocchio”
31 La-La-La Lies – The Who
32 “Who Farewell Tour”
33 Closing/End Credits

Next Week : Family Circle

Here she be Dylanite dogs !

The full show on one mp3;

Various individual show components recorded as individual mp3s

Big thanks to blindwilly / charlespoet!

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March 20, 2009 Posted by | TTRH Season 3, _ART, _BOB DYLAN, _Bob Dylan's Theme Time Radio Hour, _MUSIC, _POETRY | Leave a comment

Robert Forster: Sex God (Disc 1 & 2)

Robert Forster: Sex God (Disc 1 & 2)

Despite the dumb title, a sublime collection of Robert Forster out-takes, demos, covers and live tracks! Some great stuff from the GB days too!

A whopping 32 tracks in all!

Grab it now mofos!

All thanks to misha who says;

“Sex God” is a collection of precious bootleg recordings of Robert Forster’s spanning from live recordings dating from 1991 to 1996, and including also some “Danger In The Past” demos. Which means: a lot of stuff, and quite rare too (there seems to be not many Forster’s boots out there from the nineties), and I mean to make a point when I say that, for example, it is a great joy to be able to listen to (what probably is) the first public performance of When she talks about angels (from the “Mark Radcliffe” radio sessions at BBC Radio One), and I personally could never get tired of listening to Danger in the past (the album demos obviously do not sound perfect, but they are very good and of great interest: it is, for instance, captivating to see how I’ve been looking for somebody can sound good also without (that wonderful sounding) piano).

Also among my favourites: the plain, simple solo acoustic rendition of Love is a sign (from Disc 2), Grant Hart’s acoustic 2541 (I actually thought it should have made it to the Intermission Best Of instead of Frisco Depot, and not only because I love Husker Du) and Rock ‘n’ roll friend of course (though nothing can beat the 1987 KCRW radio sessions).
And last (but not least) a big big thank you to Uli who managed to upload this for me (and for you, yeah).

In case someone didn’t get how much stuff you’ll find in here I’m posting the tracklists as well.


Disc 1:

Magasinet, Gothenburg, Sweden, February 17, 1991 (radio broadcast)
01. Is This What You Call Change
02. Love Is A Sign
03. People Say
04. I’ve Been Looking For Somebody
05. Dive For Your Memory
06. Baby Stones
07. Spring Rain
08. Leave Here Satisfied

“Danger In The Past” demos
09. Danger In The Past
10. The River People
11. I’ve Been Looking For Somebody
12. Drop

“Danger In The Past” outtake

13. Falling Star
“Greater London Radio” session, UK, April 21, 1993 
14. Atlanta Lie Low
Triple J “Acoustic Sessions”, Australia, May 26, 1993
15. The Circle
16. Falling Star
17. Drop (cuts)

Disc 2:

Phaat Chalice, Sydney, Australia, June 24, 1995 (radio broadcast)
01. Danger In The Past
02. Love Is A Sign
03. I’ve Been Looking For Somebody
04. 121
05. 2541
06. The Circle
07. Part Company
08. Dive For Your Memory
09. Crying Love (cuts)

“Mark Radcliffe” session, BBC Radio One, UK, August 7, 1996
10. I Can Do
11. Rock ‘n’ Roll Friend
12. She Sang About Angels

BBC Radio One session, UK, July 1994
13. 3AM
14. Interview
15. Baby Stones

Here be Bobby;

Sex God (Disc 1)

Sex God (Disc 2)


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March 19, 2009 Posted by | Go-Betweens, Robert Forster, _MUSIC | Leave a comment

Bono Backs Out of Debate With Dave Marsh–The Full Story

Wow! Someone who hates the hypocritical, Wall Street cheerleading, media whore and muzak monger – and lover of warmongers Tony Blair and George W. Bush – Boner more than we do! Well, aside from South Park!
Nice work Dave!

Don’t call Dave a “Trotskyist” though! Billionaire scumbag U2 manager Paul McGuinness did and now has a contract out on him!


Bono’s yelped vocals are another matter, his hollow lyrics – where every platitude yields to an obscurantist pretension and back again – yet another. 


by Dave Marsh
from  the excellent ROCK & RAP CONFIDENTIAL
(to which can subscribe free of charge by sending your email address to )

As RRC disclosed in September, last May U2’s Bono confronted Irish journalist Gavin Martin and myself in the lobby of Dublin’s Merion Hotel. He asked what I’d been working on. I said “the premise that celebrity politics has been a pretty much complete failure.” Bono replied that he wanted to debate the topic in public. He reiterated the challenge the next evening. The witnesses included U2’s manager Paul McGuinness and my wife, Barbara Carr, among others.

I made sure that Sirius Satellite Radio, which was to broadcast the debate, knew about Bono’s invitation. By mid-June, U2’s New York office confirmed the plan, asking only that it be delayed until U2 finished recording its next album. I kept it public via RRC and my Sirius show, Kick Out the Jams.

In November, U2 manager Paul McGuinness rang me. After some brief personal palaver—I like Paul even though I know he’s alluded to me as a “Trotskyist” behind my back—McGuinness sheepishly said “Bono has asked me to ask you if he can withdraw” from the debate.

I said “Sure.” McGuinness expressed gratitude that I was taking it so well.

“Of course,” I added, “this was a public challenge. Backing out’s not gonna be private.” I did not ask why Bono ducked the debate. Maybe he’d come to his senses, as his apologetics for world capitalism disintegrated with the stock, housing and employment markets. Maybe he was too busy preparing the banalities he’d blare on the new album.

In the wake of the New Depression generated by Bono’s tutors in world finance, it’s hardly necessary to issue a point by point refutation of his statements about how the world works,. Based on Bono’s response to criticism of U2’s tax avoidance, he plans to carry to the grave the ardently stupid globalization orthodoxy of Forbes, the Wall Street cheerleading rag he co-owns. Can there be anyone else who’s ventured a deep thought in the last several months who still believes that the only path to change involves bending the knee to the powerful?

As for the lyrics, don’t jump to the wrong conclusion. It can’t be denied that Larry Mullen, Adam Clayton and the Edge can still make fascinating music. Bono’s yelped vocals are another matter, his hollow lyrics–where every platitude yields to an obscurantist pretension and back again–yet another. Unfortunately, even if he’d come up with a lyric as great as “One,” Bono also carries into each project his off-stage political pronouncements, and his fawning affiliations with war criminals such as Tony Blair and George W. Bush.

I don’t know why Bono spit the bit on debating these issues in a public forum with a well-informed antagonist. Maybe he decided that he’d fucked up and was about to lower himself by going head to head with a journalist. Maybe he doesn’t want to deal on the spot with descriptions of his repeated appearances at the conferences of the leading capitalist nations where he’s yet to ask his first hard question about anything but Africa; about his settling for promises from world leaders that patently weren’t going to be kept, and never doing more than mewing when they weren’t; about why it is that Zambian economist Dambisa Moyo, by no means an anti-capitalist, observes that she met him “at a party to raise money for Africans, and there were no Africans in the room, except for me,” or why so many other Africans have complained that he claims to speak for them but has never so much as asked their permission. In regard to the last, I did receive more courtesy than Andrew Mwenda, the Ugandan journalist Bono cursed for raising such questions at an economics conference. (But then, I’m white and Celtic-American.)

It certainly isn’t my fault that I have to say “maybe” about all of this. Bono never got back to me, or had any of his handlers get back to me, about the ground rules for our projected “debate”–his term, not mine. I’d have settled for an honest interview although “debate” would have been more fun, even though the result was inevitable. No matter how many people sided with my being able to see through the kind of thing William Burroughs once poetically dubbed “a thin tissue of horseshit” it wouldn’t be enough to outweigh Big Time Pop Star status.

I don’t know. More to the point, you can’t know either.

U2 could be in a fair amount of trouble. The band is old by rock standards, and on the cover of Rolling Stone Bono looked much older than the rest because of a physical makeover that tries to deny it. No Line’s first single flopped on the radio. The band’s decision to have its song publishing company flee Ireland for a tax haven in the Netherlands has been subject to protests in the streets of Dublin and has no obvious justification, despite Bono’s fatuous counterclaim that it is his critics who are the hypocrites because free-market values were what created the “Celtic Tiger” of Dublin’s capitalist boom economy. The Tiger’s death throes look to be particularly messy, in part because of capital flight of just U2’s kind. The band’s attempt to alter the Dublin skyline with its Clarence Hotel expansion is another example of its ruinous distance from everyday Irish reality.

Bono’s self-promotion fares much better on this side of the Atlantic than at home. For instance, he got away scot-free in the American press after declaring during the Inauguration Concert, “What a thrill for four Irish boys from the north side of Dublin to honor you sir, Barack Obama, to be the next president of the United States.” But Shane Hegarty wrote in The Irish Times that only one of the band now lives on Dublin’s working class north side while Bono has lived more of his life on the south side.

“During the band’s performance of ‘In The Name of Love,’” wrote Hegarty, “he described Martin Luther King’s dream as ‘Not just an American dream–also an Irish dream, a European dream, an African dream, an Israeli dream . . .’ And then, following a long pause reminiscent of a man who’d just realized he’d left the gas on, he added, ‘. . . and also a Palestinian dream.’ This was his big shout out to the Palestinians… You can’t help but marvel at this latest expression of Bono’s Sesame Street view of the world. Hey Middle East, we just have to have a dream to get along.

“Just ignore the sound of those loud explosions and concentrate on Bono’s voice.”

So listen, Bono, if you decide to suck it up and face me, I’m still available. I can’t win a debate, we both know that, and why you’d want to continue to look feeble and cowardly when you have virtually nothing to lose… well, that’s another question I suppose you’ll never be asked.

It doesn’t mean that those questions are going to go away. Maybe for the tamed tigers of the American pop press, but not for me, or for those people in the streets of Dublin calling you a tax cheat, or for the Africans who feel insulted by your ignorance of their lives, or for that matter, the fans who wonder why you insist on siding continually, if slyly, with the powerful against the powerless.


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March 19, 2009 Posted by | Bono, Dave Marsh, _ARTICLE, _MUSIC | Leave a comment

Nick Cave – The Secret Life Of The Love Song & The Flesh Made Word: Two Lectures

The Secret Life Of The Love Song & The Flesh Made Word: Two Lectures By Nick Cave (2000)

A rare and fascinating release this. We’ve been looking for it for some time and our pal mrx kindly got it into our mitts today! Thanks again mrx!

I was lucky enough to catch Nick deliver his Secret Life Of The Love Song  show and perform some acoustic tracks in a small Dublin venue what must be about 10 years ago. It was a rare and unique performance, extremely different and extremely intimate, harking back to the raw autobiographical nature of his greatest LP The Boatman’s Call.

Here’s an opportunity to revisit that show via a specially recorded studio version interspersed with some wonderful sparse revisits of classic Cave tracks.

This CD is fantastic. Amazing not only in how good it is, but even the mere fact that it exists. How many artists would release a CD like this?

The title lecture  The Secret Life Of The Love Song features Nick waxing philosophically and lyrically on the love song, it’s meaning, purpose, and relevance, it’s role in his career – on through an exploration of the critical role of sadness within the true love song and the intense power of this sadness, what’s known by the Portuguese as “duende” and what’s a fundamental element in powerfuly raw Irish traditional “Sean Nos” music.

Cave’s speech is laced with commentary on his own works and surprisingly raw autobiographical ancedotes that any Cave fan will love.

This piece also features 5 wonderful musical interludes.

Starting with the wonderful West Country Girl – with a considerably different arrangement; a good version of People Ain’t No Good; a totally new take on a classic Sad Waters;  Love Letter, subsequently released on No More Shall We Part, but new at the time; and the powerful  Far From Me, the origin of which is expounded upon by Cave.

The second piece – The Word Made Flesh – is a wonderful 17 minute spoken word piece recorded for the Beeb in which Cave talks about The Bible and how it has hugely influenced his life and his writing. Lots more revealing autobiograpohical stuff here too.

This is a must have for any Cave fan.

A wonderfully unique work and immensely enjoyable to listen to.

Not often you hear an espousal of erotographomania on stage these days!

And, you really ain’t heard nothing til you’ve heard Nick quoting Boney-M and analysing a Kylie Minogue pop classic!  

Some more info below:

The Secret Life of the Love Song is Nick’s highly original take on his personal artistic muse, and on the genre as a whole.

Originally conceived for the Vienna Poetry Festival (1998) and performed to great success and a capacity audience at The Royal Festival Hall, London in 1999, this is a special studio recording.

It includes five new and unique interpretations of the Cave songs ‘West Country Girl’, ‘People Ain’t no Good’, ‘Sad Waters’, ‘Love Letter’, and ‘Far From Me’.

The Word Made Flesh is a wholly spoken-word piece, re-recorded, originally conceived and executed for the BBC Religious Services Department in 1996.

 Like any good, or wayward, biblical scholar, perennial penitent Nick Cave knows that the sins of the father are destined to be replayed by the son. History does not record if Cave senior, an English lecturer, led an early life of wild excess and debauchery but, as he approaches middle age, Cave the younger acknowledges that everything he does brings him a step closer to his dear, departed daddy.

Originally delivered at the Vienna Poetry Festival in 1998, ‘The Secret Life Of The Love Song’ is a droll, imaginative appraisal of the form that has most inspired him in recent years. Its frame of reference includes the poets Lorca and Auden, Bob Dylan and Leonard Cohen, as well as Kylie Minogue and Boney M. We may prefer our artists to be slavering inadequates, barely sentient fruitcakes, but both ‘The Secret Life…’ and ‘The Flesh Made Word’ (originally broadcast on Radio 3) are a reminder that sometimes the most impassioned artist can be an acerbic and penetrating critic. In his early solo career Cave was often enraged by critical assessments of his work and these lectures, joining such King Mob cultural landmarks as Ken Kesey, the Black Panthers and, er, Stewart Home, are a deliciously savoured and valuable type of revenge.

But Cave also delivers unerringly emotive rerecordings of his most exquisitely realised compositions (‘West Country Girl’, ‘Sad Waters’ and ‘Far From Me’). Balm for those who think it’s not so good to talk and magnificent examples of what he calls “my sad, gloomy-eyed children”. Long may he tend to their needs, by whatever means may be necessary.

8 out of 10

– NME 


Since I have become a Nick Cave fan and have evangelized his music to friends and acquaintances, I’ve been frequently asked why his music is so dark and brooding. Well, now here I’ve found some answers and you can too.Since I have become a Nick Cave fan and have evangelized his music to friends and acquaintances, I’ve been frequently asked why his music is so dark and brooding. Well, now here I’ve found some answers and you can too.

In Cave’s first lecture, he explains the concepts of “saudade” and “duende” and puts forth the proposition that a love song is not a true love song unless it contains elements of these concepts. Then he goes on to explain why this is so. His lecture is interspersed with his playing of five examples of love songs he has written that are steeped in saudade and duende.

In the course of his talk, he also mentions other musicians like Van Morrison, Bob Dylan, Tom Waits and others whose writings betray a deep understanding of those concepts.

In the second lecture, Cave speaks of how the Bible came to influence his writing after the death of his father who had inspired him to write. Songs from his earlier band Birthday Party and early Bad Seeds are informed by the Old Testament and filled with “bile and puke”, but also with the beauty of the Psalms. Later Cave songs have been inspired by the Gospels and show a new and brighter view of life and love. He talks a bit about God and his view of humanity’s connection to the divine. Lest this scare anyone off, I should add that his talk is exploratory and explanatory, not preachy in a Jesus freak sort of way.

I learned quite a bit by listening to this fine CD and have come to understand the music of Nick Cave to the point to where I can explain it to others. Cave has a good speaking voice and a manner which makes interesting what he has to say. I find The Secret Life of the Love Song & The Flesh Made Word to be thoroughly edifying and enjoyable. I recommend it highly not just to hard-core Nick Cave fans, but to anyone who has an interest in writing.

-Kurt Harding

Here be Nicky;


thanks mrx


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March 19, 2009 Posted by | Nick Cave, _ART, _MUSIC, _SPOKEN WORD | Leave a comment

Jack White & Alison Mosshart form supergroup ‘The Dead Weather’


The new supergroup includes Alison Mosshart of The Kills, Dean Fertita of Queens of the Stone Age and Jack Lawrence of The Greenhornes with Jack White on drums.

Story from NY Times

The Dead Weather, with, from left, Jack White, Alison Mosshart and Jack Lawrence performing on Wednesday in Nashville, Tenn.

by Christopher Berkey
The New York Times
12 March 09

Nashville — The invitation indicated only that the party on Wednesday night here was the “grand opening of Third Man Records.” But the 150 fans, friends and members of the media who showed up to the small warehouse in an industrial section of Nashville were given more than a tour of Jack White’s new label offices – they were present for the announcement and the debut of Mr. White’s new band, the Dead Weather.

In his primary group, the White Stripes, Mr. White is known as one of rock’s finest guitarists. In the new band, though, he plays drums. Alison Mosshart, of the London-based duo the Kills, is the lead singer; Dean Fertita of Queens of the Stone Age plays guitar; and Jack Lawrence, from Mr. White’s other band, the Raconteurs, is the bassist. The 11 songs on the “Horehound” album – 10 originals and a yowling cover of Bob Dylan’s “New Pony” – are spare and sexy, with vocals often distorted or submerged beneath grinding, snaky rhythms. (The first single, “Hang You From the Heavens,” was immediately made available on iTunes; the full album will be released in June.)

The five-song set the Dead Weather performed in the small space at the rear of the offices had a garage-blues feel, more physical than the recordings. “Tonight was the first time I played drums on stage since I was a teenager,” Jack White said in an interview after the show. “I wanted to look at the music from a new angle, and it gets me back to the structure of how songs are created.”

Nashville royalty like Sheryl Crow and Martina McBride joined the party, and White Stripes fans needn’t fret: Meg White was there too, smiling.

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March 18, 2009 Posted by | Alison Mosshart, Dean Fertita, Jack White, The Dead Weather, _MUSIC | Leave a comment

Bob Dylan by Bono – The 100 Greatest Singers of All Time

Rolling Stone Magazine : 100 Greatest Singers

#7: Bob Dylan
by Bono

from Rolling Stone : 100 Greatest Singers

Key Tracks
“Like a Rolling Stone,” “Lay Lady Lay,” “Visions of Johanna”


John Lennon, Bruce Springsteen, Patti Smith, Conor Oberst

Photo: Wilmer/Redferns/Retna Born
May 24th, 1941

It is a voice like smoke, from cigar to incense, where it’s full of wonder and worship.

Bob Dylan did what very, very few singers ever do. He changed popular singing. And we have been living in a world shaped by Dylan’s singing ever since. Almost no one sings like Elvis Presley anymore. Hundreds try to sing like Dylan. When Sam Cooke played Dylan for the young Bobby Womack, Womack said he didn’t understand it. Cooke explained that from now on, it’s not going to be about how pretty the voice is. It’s going to be about believing that the voice is telling the truth.

To understand Bob Dylan’s impact as a singer, you have to imagine a world without Tom Waits, Bruce Springsteen, Eddie Vedder, Kurt Cobain, Lucinda Williams or any other vocalist with a cracked voice, dirt-bowl yelp or bluesy street howl. It is a vast list, but so were the influences on Dylan, from the Talmudic chanting of Allen Ginsberg in “Howl” to the deadpan Woody Guthrie and Lefty Frizzell’s murmur. There is certainly iron ore in there, and the bitter cold of Hibbing, Minnesota, blowing through that voice. It’s like a knotted fist, and it allows Dylan to sing the most melancholy tunes and not succumb to sentimentality. What’s interesting is that later, as he gets older, the fist opens up, to a vulnerability. I have heard him sing versions of “Idiot Wind” where he was definitely the idiot.

I first heard Bob Dylan’s voice in the dark, when I was 13 years old, on my friend’s record player. It was his greatest-hits album, the first one. The voice was at once modern, in all the things it was railing against, and very ancient. It felt strangely familiar to an Irishman. We thought America was full of superheroes, but it was a much humbler people in these songs — farmers, people who have had great injustices done to them. The really unusual thing about Bob Dylan was that, for a moment in the Sixties, he felt like the future. He was the Voice of a Generation, raised against the generation that came before. Then he became the voice of all the generations, the voices in the ground — these ghosts from the Thirties and the Dust Bowl, the romance of Gershwin and the music hall. For me, the pictures of him in his polka-dot shirt, the Afro and pointy shoes — that was a brief flash of lightning. His voice is usually put to the service of more ancient characters.

Here are some of the adjectives I have found myself using to describe that voice: howling, seducing, raging, indignant, jeering, imploring, begging, hectoring, confessing, keening, wailing, soothing, conversational, crooning. It is a voice like smoke, from cigar to incense, where it’s full of wonder and worship. There is a voice for every Dylan you can meet, and the reason I’m never bored of Bob Dylan is because there are so many of them, all centered on the idea of pilgrimage. People forget that Bob Dylan had to warm up for Dr. King before he made his great “I have a dream” speech — the preacher preceded by the pilgrim. Dylan has tried out so many personas in his singing because it is the way he inhabits his subject matter. His closet won’t close for all the shoes of the characters that walk through his stories.

I love that album Shot of Love. There’s no production. You’re in a room hearing him sing. And I like a lot of the songs that he worked on with Daniel Lanois — “Series of Dreams,” “Most of the Time,” “Dignity.” That is the period where he moves me most. The voice becomes the words. There is no performing, just life — as Yeats says, when the dancer becomes the dance.

Dylan did with singing what Brando did with acting. He busted through the artifice to get to the art. Both of them tore down the prissy rules laid down by the schoolmarms of their craft, broke through the fourth wall, got in the audience’s face and said, “I dare you to think I’m kidding.”


1. Like a Rolling Stone
2. Lay Lady Lay
3. Visions of Johanna
4. Hurricane
5. Knockin’ on Heaven’s Door
6. Mr. Tambourine Man
7. Tangled Up in Blue
8. Blowin’ in the Wind
9. The Times They Are A-Changin’
10. All Along the Watchtower
Bob Dylan – Like a Rolling Stone

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March 18, 2009 Posted by | Bono, _ARTICLE, _BOB DYLAN, _MUSIC, _VIDEO | Leave a comment

Miley Cyrus crap can kill – evidence!

More Cyrus crap!

This time though, stomachs are suffering even more than eardrums!

We’d still rather eat one of those vile salmonella ridden Cyrus Granola Bars than listen to any of her vile salmonella ridden “songs”!


One of Miley Cyrus’ range of Hannah Montana food snacks has been pulled from shelves due to suspected salmonella contamination.

The 16-year-old’s Hannah Montana Chocolate Granola Bars have been withdrawn from stores over a peanut scare.

The Canadian Food Inspection Agency issued the recall notice on Friday after officials discovered the snacks contained nut products which were part of the widespread peanut recall that hit the US and Canada earlier this year.

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March 18, 2009 Posted by | Miley Cyrus, redneck, _ARTICLE, _MUSIC | Leave a comment

Classic Music Images – Bob Dylan : "Like a Rolling Stone" sessions (1965)


Photograph by Don Hunstein/MOA/Getty Images

“What I’m doing now, its a whole other thing,” Bob Dylan said at the time of the 1965 “Like a Rolling Stone” sessions at Columbia’s Studio A in New York.

We’re not playing rock music. It’s not a hard sound. I don’t know what it is.

McCartney knew: “He showed all of us that it’s possible to go a little further.”

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March 18, 2009 Posted by | _BOB DYLAN, _MUSIC, _PHOTOGRAPHY | Leave a comment

Classic Music Images – John Lennon and Sean at the Hit Factory by Bob Gruen

It looks like he’s turning Sean on to the world of music

– Bob Gruen

Beautiful and powerful image of John Lennon, with his young son Sean, showing off the new automated mixing board at New York’s Hit-Factory back in 1980.

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March 18, 2009 Posted by | John Lennon, _MUSIC, _PHOTOGRAPHY | Leave a comment

The 100 Greatest Singers of All Time: #1 Aretha Franklin

No real quibbles about this one.

The undoubted Queen of Soul herself Miss Aretha Franklin!

We won’t say anything about her “taste” in hats, though!

Although it’s perhaps at first glance somewhat odd to see Bob Dylan in the top ten Greatest Singers of All Time, his immense songwriting influence aside, one needs to consider the phenomenal impact his singing has had on generations of singers – artists whose singing ability may not perhaps be technically exceptional but, thanks to Dylan’s inspiration, have gone on nevertheless to be powerful and impactful.

We’d also definitely have the sublime singing talent of Jackie Wilson in our top 10!

Of course, as always, there are a lot of so-called artists listed here that shouldn’t be anywhere near this list!

#1 Aretha Franklin
by Mary J. Blige

Born: March 25th, 1942
Key Tracks:
“(You Make Me Feel Like) A Natural Woman,” “Respect,” “I Never Loved a Man (The Way I Love You),” “Think,” “Chain of Fools”
Whitney Houston, Alicia Keys, Aaron Neville, Annie Lennox

You know a force from heaven. You know something that God made. And Aretha is a gift from God. When it comes to expressing yourself through song, there is no one who can touch her. She is the reason why women want to sing.

Aretha has everything — the power, the technique. She is honest with everything she says. Everything she’s thinking or dealing with is all in the music, from “Chain of Fools” to “Respect” to her live performances. And she has total confidence; she does not waver at all. I think her gospel base brings that confidence, because in gospel they do not play around — they’re all about chops, who has the vocal runs. This is no game to her.

As a child, I used to listen to Aretha’s music because my mom played “Do Right Woman” and “Ain’t No Way” every single day. I would see my mother cry when she listened to those songs, and I’d cry too. Then I discovered her on my own with the Sparkle soundtrack. I must have played “Giving Him Something He Can Feel” 30 times in a row; eventually, I connected the dots to that voice my mom was listening to.

Even the way she pronounces words is amazing: In “Giving Him Something He Can Feel,” when she sings, “Many say that I’m too young” — the way she says “I’m,” you can almost see her saying it, like she’s all in your face, but you’re still right with her. You can really visualize her hands when she sings, “You’re tying both of my hands,” on “Ain’t No Way” — it’s the powerful way she hits the word “both.”

When you watch her work, you can see why Aretha is who she is. When we did the song “Don’t Waste Your Time” on my album Mary, she just went in there and ate that record like Pac-Man. She could be doing a church vocal run, and it would turn into some jazz-space thing, something I never encountered before. You’d say, “Where did that come from? Where did she find that note?”

It’s beautiful to see, because it helps people with a lack of confidence in their ability, like myself. I look at her and think, “I need a piece of that. Whatever that is.”


1. (You Make Me Feel Like)
A Natural Woman
2. Respect
3. I Never Loved a Man
(The Way I Love You)
4. Think
5. Chain of Fools
6. Until You Come Back to Me (That’s What I’m Gonna Do)
7. Rock Steady
8. Call Me
9. Do Right Woman
10. I Never Loved a Man
Aretha Franklin – I say a little prayer

The 100 Greatest Singers of All Time

1 | Aretha Franklin by Mary J. Blige

2 | Ray Charles by Billy Joel

3 | Elvis Presley by Robert Plant

4 | Sam Cooke by Van Morrison

5 | John Lennon by Jackson Browne

6 | Marvin Gaye by Alicia Keys

7 | Bob Dylan by Bono

8 | Otis Redding by Booker T. Jones

9 | Stevie Wonder by Cee-Lo

10 | James Brown by Iggy Pop

11 | Paul McCartney

12 | Little Richard

13 | Roy Orbison

14 | Al Green

15 | Robert Plant

16 | Mick Jagger by Lenny Kravitz

17 | Tina Turner

18 | Freddie Mercury

19 | Bob Marley

20 | Smokey Robinson

21 | Johnny Cash

22 | Etta James

23 | David Bowie

24 | Van Morrison

25 | Michael Jackson by Patrick Stump of Fall Out Boy

26 | Jackie Wilson

27 | Hank Williams

28 | Janis Joplin

29 | Nina Simone

30 | Prince

31 | Howlin’ Wolf

32 | Bono by Billie Joe Armstrong

33 | Steve Winwood

34 | Whitney Houston

35 | Dusty Springfield

36 | Bruce Springsteen

37 | Neil Young

38 | Elton John

39 | Jeff Buckley by Chris Cornell

40 | Curtis Mayfield

41 | Chuck Berry

42 | Joni Mitchell

43 | George Jones by James Taylor

44 | Bobby “Blue” Bland

45 | Kurt Cobain

46 | Patsy Cline

47 | Jim Morrison

48 | Buddy Holly

49 | Donny Hathaway

50 | Bonnie Raitt

51 | Gladys Knight

52 | Brian Wilson

53 | Muddy Waters by Ben Harper

54 | Luther Vandross

55 | Paul Rodgers

56 | Mavis Staples

57 | Eric Burdon

58 | Christina Aguilera

59 | Rod Stewart

60 | Björk

61 | Roger Daltrey

62 | Lou Reed

63 | Dion

64 | Axl Rose

65 | David Ruffin

66 | Thom Yorke

67 | Jerry Lee Lewis

68 | Wilson Pickett

69 | Ronnie Spector

70 | Gregg Allman

71 | Toots HIbbert

72 | John Fogerty

73 | Dolly Parton

74 | James Taylor

75 | Iggy Pop

76 | Steve Perry

77 | Merle Haggard

78 | Sly Stone

79 | Mariah Carey

80 | Frankie Valli

81 | John Lee Hooker by Bonnie Raitt

82 | Tom Waits

83 | Patti Smith

84 | Darlene Love

85 | Sam Moore

86 | Art Garfunkel

87 | Don Henley

88 | Willie Nelson

89 | Solomon Burke

90 | The Everly Brothers

91 | Levon Helm by Jim James

92 | Morrissey

93 | Annie Lennox

94 | Karen Carpenter

95 | Patti LaBelle

96 | B.B. King

97 | Joe Cocker

98 | Stevie Nicks

99 | Steven Tyler

100 | Mary J. Blige

RS Contributors

Brian Braiker, David Browne, Anthony DeCurtis, David Fricke, Brian Hiatt, Ashley Kahn, Mark Kemp, Alan Light, Austin Scaggs, David Wild, Douglas Wolk

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March 18, 2009 Posted by | Aretha Franklin, Mary J. Blige, _ARTICLE, _MUSIC, _VIDEO | Leave a comment

Trent Reznor Tells Fans “Don’t Buy From Scalpers,” Criticizes Secondary Ticket Market

Photo: Getty

from Rolling Stone


With tickets for the upcoming Nine Inch Nails tour with Jane’s Addiction set to go on sale to the public on March 20th, Trent Reznor took to the NIN forum to map out his thoughts on the secondary ticketing market, or “scalping” as it used to be called when the practice was illegal. As Rock Daily reported last week, many artists often keep the best seats in a venue and sell them on the secondary ticket market for a huge profit. Trent Reznor is not one of those artists, as “it’s not something we morally feel is the right thing to do,” Reznor writes.

“There are some people who would be willing to pay $1,000 and up to be in the best seats for various shows, but MOST acts in the rock/pop world don’t want to come off as greedy pricks asking that much, even though the market says its value is that high. The acts know this, the venue knows this, the promoters know this, the ticketing company knows this and the scalpers really know this,” Reznor says. Nine Inch Nails get 10 percent of seats in an amphitheatre for themselves. Usually they’re the best seats in the venue, but rather than pass them on to a re-seller to make a huge profit, they offer them to the fans in a presale, taking measures to ensure buyers don’t turn around and profit off the tickets.

“We limit the amount you can buy, we print your name on the tickets and we have our own person let you in a separate entrance where we check your ID to match the ticket,” Reznor writes, arguing that the entire secondary ticket market could be eradicated by following a similar protocol for all tickets. “The ultimate way to hurt scalpers is to not support them. Leave them holding the merchandise,” Reznor tells his fans, “Don’t buy from scalpers.”

While it might seem hypocritical for Reznor to criticize Ticketmaster’s role in the secondary ticket market and then align the band with concert giant Live Nation’s venues for the actual tour, Reznor explains, “I fully realize by playing those venues we are getting into bed with all these guys. I’ve learned to choose my fights and at this point in time it would be logistically too difficult to attempt to circumvent the venues/promoter/ticketing infrastructure already in place for this type of tour.” Still, Reznor told fans to be leery of a potential Live Nation/Ticketmaster merger, as “they’ll move to an auction or market-based pricing scheme — which will simply mean it will cost a lot more to get a good seat for a hot show. They will simply BECOME the scalper, eliminating them from the mix.” Presale tickets for the NIN/Jane’s tour went on sale this morning.

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March 18, 2009 Posted by | Nine Inch Nails, Trent Reznor, _ARTICLE, _MUSIC | Leave a comment

TTRH3.19 Bob Dylan TTRH Season 3 Ep 19 ‘Questions’

Bob Dylan’s Theme Time Radio Hour

Season 3

Episode 19


Original Airdate 4 March, 2009

(Streaming Country Pie Vers.)

Mp3 @ 256 kbps/ 116 MB/ RS + ES

Absolute Sound Recorder > Sound Forge 6.0 > FLAC Frontend

Theme Time Radio Hour, your home for
what Dreams, who Themes and why Schemes

Judge a man by his questions rather than his answers

– Voltaire

“You’ve written a couple of songs Bob. You got any advice?”

– caller “Bob”

Maybe there’s a guy walking by. He’s walking home to see his wife.Or he’s walking away from his wife. Or his wife’s waiting for him. Or she’s not waiting for him. Or she’s with someone else.

All you’ve got to do is get outside of your own head

As a younger man, I thought about going into journalism.

Do you take this man to be your lawful wedded wife?

Are you having a good time? Are you enjoying yourself? Are you comfortable?

Here’s “Who do you love?” Or should that be “Whom do you love?” We’ll look that up and get back to you.

What is this thing called love?
This funny thing called love?
Just who can solve its mystery?
Why should it make a fool of me?

I saw you there one wonderful day
You took my heart and threw it away
That’s why I ask the lord in heaven above
What is this thing called love?

-Cole Porter

Rudyard Kipling, questionable poet

There will be a quiz at the end of today’s broadcast.

I’ve talked to your Mother, and I’ve talked to your Dad
They say they’ve tried but it’s all in vain
I’ve begged and I’ve pleaded, I’ve even got mad
Now we must face it, you give me a pain

Oh, How can I miss you when you wont go away
Keep on telling you, day after day
But you wont listen, you always stay and stay
How Can I Miss You, When You won’t Go Away?
How can I miss you, when you wont go away

Your never ending presence, really cramps my style
I dreamed, that it wont always be the same
At first I was attracted, but after a while
Have you ever heard of, a hard to get dame

Out of three billion people, why must it be me
Oh why, oh why won’t you cut me loose
Just do me a favour, and listen to my plea
I’m not the only chicken on the roost

Dan Hicks

David Bowie sings a song about a city of them.

Perhpas they were invoking the Socratic Method.

I’ve been made blue.
I’ve been lied to.
When will I be loved?
I’ve been turned down.
I’ve been pushed ’round.
When will I be loved?

When I meet a new girl,
That I want for mine,
She always breaks my heart in two.
It happens every time.

I’ve been cheated.
Been mistreated.
When will I be loved?

When I meet a new girl,
That I want for mine,
She always breaks my heart in two.
It happens every time.

I’ve been cheated,
Been mistreated.
When will I be loved?
When will I be loved?
When will I be loved?

– Phil Everly

He was the son of noted sex bomb, Mamie Van Doren.

Socrates, looking for truth until the very end.

Another riddle for the ages was the riddle of the sphinx

As I always say, you don’t dance to the information.

Alan Freed was a big fan of this record. Or maybe he just got paid to be a big fan of this record. I’d like to think he was really a big fan cos I like the record.

I just love the word “sphico”


01 Opening
02 Who Do You Love? – Bo Diddley
03 “Who or Whom?”
04 Whadaya Want? – The Robins
05 “Allen Toussaint’s Whipped Cream”
06 What Do You Want A Girl To Do? – Allen Toussaint
07 “Suffragettes”
08 When Will I Be Loved? – The Everly Brothers
09 “The Socratic Method”
10 Where You At? – Lloyd Price
11 “About Lloyd Price”
12 I Wonder Where You Are Tonight – Bill Monroe
13 “Quiz Show”
14 64,000 Dollar Question – Bobby Tuggle
15 “Matzoh”
16 Who’s That Guy – The Kolettes
17 “Character Actors”
18 Who’s That Lady? – The Isley Brothers
19 “Character Actresses”
20 “Questionable Book Titles/Dan Hicks”
21 How Can I Miss You When You Won’t Go Away? – Dan Hick And His Hot Licks
22 “Riddle of the Sphinx”
23 Phone Call
24 What’s Going On? – Marvin Gaye
25 “Eddie Lawrence”
26 What Is This Thing Called Love? – Billie Holiday
27 “Punctuation”
28 What’s So Funny About Peace, Love And Understanding? – Brinsley Schwarz
29 Closing/End Credits

Next Week : Truth and Lies

Here she be Dylanite dogs !

The full show on one mp3;

Various individual show components recorded as individual mp3s …

Big thanks to blindwilly / charlespoet!

March 16, 2009 Posted by | TTRH Season 3, _ART, _BOB DYLAN, _Bob Dylan's Theme Time Radio Hour, _MUSIC, _POETRY | Leave a comment