A tune i wrote influenced by John Fahey and other country blues musicians. Open tuning G. Bit scratchy but close enough...
Monday, January 31, 2011
Thursday, January 27, 2011
Time
Short film featuring my son with a kite on a beach in winter. Music inspired by Simon & Garfunkel, remixed by me...
Tuli Kupferberg, Bohemian, Musician, Fug and Saint , Dies at 86
From The New York Times...Tuli Kupferberg, a poet and singer who went from being a noted Beat to becoming, in his words, “the world’s oldest rock star” when he helped found the Fugs, the bawdy and politically pugnacious rock group, died on Monday in Manhattan. He was 86 and lived in Manhattan. The Fugs were, in the view of the longtime Village Voice critic Robert Christgau, “the Lower East Side’s first true underground band.” They were also perhaps the most puerile and yet the most literary rock group of the 1960s, with songs suitable for the locker room as well as the graduate seminar (“Ah, Sunflower, Weary of Time,” based on a poem by William Blake); all were played with a ramshackle glee that anticipated punk rock.
With songs like “Kill for Peace,” the Fugs also established themselves as aggressively antiwar, with a touch of absurdist theater. The band became “the U.S.O. of the left,” Mr. Kupferberg once said, and it played innumerable peace rallies, including the “exorcism” of the Pentagon in 1967 that Norman Mailer chronicled in his book “The Armies of the Night.” (The band took its name from a usage in Mailer’s “Naked and the Dead.”)
The Fugs was formed in 1964 in Mr. Sanders’s Peace Eye Bookstore, a former kosher meat store on East 10th Street in Manhattan. By then Mr. Kupferberg, already in his 40s, was something of a Beatnik celebrity. He was an anthologized poet and had published underground literary magazines with titles like Birth and Yeah.
He had also found notoriety as the inspiration for a character in Allen Ginsberg’s poem “Howl.” As Ginsberg and Mr. Kupferberg acknowledged, he was the one who “jumped off the Brooklyn Bridge this actually happened and walked away unknown and forgotten,” a reference to a 1945 suicide attempt (off the Manhattan Bridge, not Brooklyn) that had been precipitated by what he called a nervous breakdown.
The fame that episode earned him caused Mr. Kupferberg a lifetime of chagrin and embarrassment. “Throughout the years,” he later said, “I have been annoyed many times by, ‘Oh, did you really jump off the Brooklyn Bridge?,’ as if it was a great accomplishment.”
The Fugs’ first album, “The Village Fugs Sing Ballads of Contemporary Protest, Points of View and General Dissatisfaction,” was released in 1965. The band became a staple of underground galleries and theaters, as well as antiwar rallies. In concert Mr. Kupferberg was often the group’s mascot or harlequin, acting out satirical pantomimes — an American soldier who turns into a Nazi, for example — or sometimes not singing at all.
On subsequent albums the band changed its lineup many times and acquired a more professional sound, though its scatological themes got it kicked off at least one major record label.
With his bushy beard and wild hair, Mr. Kupferberg embodied the hippie aesthetic. But the term he preferred was bohemian, which to him signified a commitment to art as well as a rejection of restrictive bourgeois values, and as a scholar of the counterculture he traced the term back to an early use by students at the University of Paris. Among his books were “1,001 Ways to Live Without Working” — and for decades he was a frequent sight in Lower Manhattan, selling his cartoons on the street and serving as a grandfather figure for generations of nonconformists.
Beneath Mr. Kupferberg’s antics, however, was a keen poetic and musical intelligence that drew on his Jewish and Eastern European roots. He specialized in what he called “parasongs,” which adapted and sometimes satirized old songs with new words. And some of his Fugs songs, like the gentle “Morning, Morning,” had their origins in Jewish religious melodies.
Naphtali Kupferberg was born in New York on Sept. 28, 1923. He grew up on the Lower East Side and became a jazz fan and leftist activist while still a teenager. He graduated from Brooklyn College in 1944 and got a job as a medical librarian.
“I had intended to be a doctor at one point, like any good Jewish boy,” he recalled to Mr. Sanders in an audio interview in 2003. Instead he began to write topical poems and humor pieces, contributing to The Village Voice and other publications.
After the Fugs broke up, in 1969, Mr. Kupferberg performed with two groups, the Revolting Theater and the Fuxxons, and continued writing. The Fugs reunited periodically, first in 1984. Recently, Mr. Sanders said, Mr. Kupferberg had completed his parts for a new album, “Be Free: The Fugs Final CD (Part Two),” and had also been posting ribald “perverbs” — brief videos punning on well-known aphorisms — on YouTube.
Mr. Kupferberg is survived by his wife, Sylvia Topp; three children, Joseph Sacks, Noah Kupferberg and Samara Kupferberg; and three grandchildren.
Saturday, January 22, 2011
Wednesday, January 19, 2011
Pint Sized White Man With Huge Black Voice...
Steve Marriott and Humble Pie. Revelation! Peter Frampton really spanks the six string and isn't actually a rubbish MOR star after all, and what a voice Stevie, say no more...
Black Coffee..
Natural Born...
Sad Bag of of Shaky Jake...
Black Coffee..
Natural Born...
Sad Bag of of Shaky Jake...
Sunday, January 16, 2011
The Jesus Trip...(1971)
The Jesus Trip original trailer (1971).
"April Skies" video...
Jesus & Mary Chain - April Skies
Uploaded by jesus_lizard. - Explore more music videos.
Tuesday, January 11, 2011
Captain Beefheart – January 15, 1941 – December 17, 2010.
Beefheart is an utter original if not some kind of genius...(R. Christgau).
Don Van Vliet, better known as Captain Beefheart, who has died aged 69 of complications from multiple sclerosis, was one of the most influential American musicians of the 1960s and 1970s. His status was always cult rather than commercial, and for most of his career he was broke.
Yet he remained a hero to most of the musical avant garde: the Grateful Dead, Jefferson Airplane and the Mothers of Invention in America; Roxy Music, Hawkwind, Jethro Tull, Family and Edgar Broughton in Britain. He was one of John Peel's favourite artists, and the DJ did much to promote Beefheart by playing his records when no other radio programme would touch them.
In 1964 Beefheart formed the Magic Band, the first of many lineups under the name. They sounded pretty discordant, but due to Beefheart's mesmeric presence, a four-and-a-half octave vocal range, his eccentric ability with lyrics and his inexplicable one-liners to interviewers, the band was unforgettable.
Beefheart once described his thing to an uncomprehending radio interviewer as "music to dematerialise the catatonia". His style was rhythm and blues-based but completely unorthodox in its approach to structure, rhythm and key. Magic Band musicians had names such as Winged Eel Fingerling, Zoot Horn Rollo, the Mascara Snake and Rockette Morton. They wore a ragbag of cloaks and the Captain wore a hat, usually a topper, which became his trademark.
Van Vliet was born in Glendale, California, an only child who showed artistic talent. He claimed he was producing respected sculpture at the age of five. When he was 13, his family moved to the Mojave desert, an atmosphere that was to have an enormous influence on him, and particularly his painting, and a place where he lived on and off all his life.
In 1959 he was offered a place at Antelope Valley junior college as an art major, but instead he hung out at home with his schoolfriend Frank Zappa, listening to old r'n'b records and planning various projects. One was dreamed up sitting stoned in a car ("Not Zappa," recalled Beefheart, "Frank never turned on") in the desert in 1962, to shoot a film called Captain Beefheart Meets the Grunt People. The film was never made, but the name stuck.
From their early teens, Beefheart and Zappa developed a love-hate relationship which became lifelong, mainly based on Beefheart's resentment of Zappa's success. Despite briefly moving to Cucamonga in California in the early 1960s to be with Zappa, intending to form a band called the Soots, Beefheart remained in the desert while Frank, an astute businessman, moved to Los Angeles and founded the Mothers of Invention.
Beefheart's early albums remain the most original: Safe as Milk (produced by Bob Krasnow and Richard Perry, 1967); Strictly Personal (completed in a week, produced by Krasnow, 1968) and two albums for Zappa's Straight label: Trout Mask Replica (1969) and Lick My Decals Off, Baby (1970). For Trout Mask Replica, Beefheart locked the Magic Band in a house in Woodland Hills for eight months, continually rehearsing the songs. Virtually broke, they often had nothing but bread to eat, but when they finally got into the studio they recorded the double album in four and a half hours.
Although they admired him, other musicians found Beefheart exasperating. The guitarist Ry Cooder played on the first album and was due to appear at the Monterey festival in 1967 with the band, but left in a temper after Beefheart had a panic attack during rehearsal and walked off the back of the stage, landing on top of his manager.
It was Beefheart's stubborn refusal to conform that invariably lost him the big bucks. And he was not indifferent to money. He loved fast cars and owned variously a Hudson, Corvette and Jaguar, drank brandy alexanders, and always wore the best shoes he could afford.
In 1974 Beefheart was signed to Virgin Records. Richard Branson also desperately wanted to sign Zappa, but it was during one of Beefheart's hate-Frank periods. Despite being warned never to mention the name, virtually the first words Branson uttered to Beefheart were about how great it would be when he had also got Zappa on to the label. It was a fateful and uneasy start. Yet when, as invariably happened with Beefheart, the relationship between artist and record company soured, it was Zappa who rescued Beefheart and took him on tour. Beefheart responded by filling a series of huge sketchbooks with angry drawings of Zappa.
Despite having no formal training in art, Beefheart drew and painted throughout his music career. His first exhibition was in Liverpool at the Bluecoat Gallery in 1972, while he was touring in Britain. He executed 15 black and white paintings in situ. In 1982, on the advice of the New York art dealer Michael Werner that he would never be taken seriously as a painter unless he gave up music, Beefheart turned to art and gained a reasonable reputation.
He married his wife Jan in 1970. She cared for him through his debilitating multiple sclerosis until the end.
• Don Van Vliet (Captain Beefheart), musician and artist, born 15 January 1941; died 17 December 2010
For a great re-assesment of his work go to...
http://www.guardian.co.uk/music/musicblog/2010/dec/22/captain-beefheart-back-catalogue?intcmp=239
 |
| Beefheart design: A. Monaghan |
Don Van Vliet, better known as Captain Beefheart, who has died aged 69 of complications from multiple sclerosis, was one of the most influential American musicians of the 1960s and 1970s. His status was always cult rather than commercial, and for most of his career he was broke.
Yet he remained a hero to most of the musical avant garde: the Grateful Dead, Jefferson Airplane and the Mothers of Invention in America; Roxy Music, Hawkwind, Jethro Tull, Family and Edgar Broughton in Britain. He was one of John Peel's favourite artists, and the DJ did much to promote Beefheart by playing his records when no other radio programme would touch them.
In 1964 Beefheart formed the Magic Band, the first of many lineups under the name. They sounded pretty discordant, but due to Beefheart's mesmeric presence, a four-and-a-half octave vocal range, his eccentric ability with lyrics and his inexplicable one-liners to interviewers, the band was unforgettable.
Beefheart once described his thing to an uncomprehending radio interviewer as "music to dematerialise the catatonia". His style was rhythm and blues-based but completely unorthodox in its approach to structure, rhythm and key. Magic Band musicians had names such as Winged Eel Fingerling, Zoot Horn Rollo, the Mascara Snake and Rockette Morton. They wore a ragbag of cloaks and the Captain wore a hat, usually a topper, which became his trademark.
Van Vliet was born in Glendale, California, an only child who showed artistic talent. He claimed he was producing respected sculpture at the age of five. When he was 13, his family moved to the Mojave desert, an atmosphere that was to have an enormous influence on him, and particularly his painting, and a place where he lived on and off all his life.
In 1959 he was offered a place at Antelope Valley junior college as an art major, but instead he hung out at home with his schoolfriend Frank Zappa, listening to old r'n'b records and planning various projects. One was dreamed up sitting stoned in a car ("Not Zappa," recalled Beefheart, "Frank never turned on") in the desert in 1962, to shoot a film called Captain Beefheart Meets the Grunt People. The film was never made, but the name stuck.
From their early teens, Beefheart and Zappa developed a love-hate relationship which became lifelong, mainly based on Beefheart's resentment of Zappa's success. Despite briefly moving to Cucamonga in California in the early 1960s to be with Zappa, intending to form a band called the Soots, Beefheart remained in the desert while Frank, an astute businessman, moved to Los Angeles and founded the Mothers of Invention.
Beefheart's early albums remain the most original: Safe as Milk (produced by Bob Krasnow and Richard Perry, 1967); Strictly Personal (completed in a week, produced by Krasnow, 1968) and two albums for Zappa's Straight label: Trout Mask Replica (1969) and Lick My Decals Off, Baby (1970). For Trout Mask Replica, Beefheart locked the Magic Band in a house in Woodland Hills for eight months, continually rehearsing the songs. Virtually broke, they often had nothing but bread to eat, but when they finally got into the studio they recorded the double album in four and a half hours.
Although they admired him, other musicians found Beefheart exasperating. The guitarist Ry Cooder played on the first album and was due to appear at the Monterey festival in 1967 with the band, but left in a temper after Beefheart had a panic attack during rehearsal and walked off the back of the stage, landing on top of his manager.
It was Beefheart's stubborn refusal to conform that invariably lost him the big bucks. And he was not indifferent to money. He loved fast cars and owned variously a Hudson, Corvette and Jaguar, drank brandy alexanders, and always wore the best shoes he could afford.
In 1974 Beefheart was signed to Virgin Records. Richard Branson also desperately wanted to sign Zappa, but it was during one of Beefheart's hate-Frank periods. Despite being warned never to mention the name, virtually the first words Branson uttered to Beefheart were about how great it would be when he had also got Zappa on to the label. It was a fateful and uneasy start. Yet when, as invariably happened with Beefheart, the relationship between artist and record company soured, it was Zappa who rescued Beefheart and took him on tour. Beefheart responded by filling a series of huge sketchbooks with angry drawings of Zappa.
Despite having no formal training in art, Beefheart drew and painted throughout his music career. His first exhibition was in Liverpool at the Bluecoat Gallery in 1972, while he was touring in Britain. He executed 15 black and white paintings in situ. In 1982, on the advice of the New York art dealer Michael Werner that he would never be taken seriously as a painter unless he gave up music, Beefheart turned to art and gained a reasonable reputation.
He married his wife Jan in 1970. She cared for him through his debilitating multiple sclerosis until the end.
• Don Van Vliet (Captain Beefheart), musician and artist, born 15 January 1941; died 17 December 2010
For a great re-assesment of his work go to...
http://www.guardian.co.uk/music/musicblog/2010/dec/22/captain-beefheart-back-catalogue?intcmp=239
Monday, January 10, 2011
Strawberry Fields Forever, Penny Lane & All You Need is Love...
Years from now, when we are all dust, these clips will still be three of the strangest bit's of music put to film, although All You Need is Love isn't really music put to film as they sang live in the studio, but it's still very odd.
There something so unreal about The Beatles at this time, that they were so huge globally, universally even, yet their music and themselves seem so personal and familiar, like they are singing and playing to us, each and everyone individually.
The movie clips themselves are noteworthy for their very oddness, strangeness and at times down right sinister quality. You have the fab four wandering around some God forsaken autumnal moor or heath, in balaclavas and furs, jumping from an impressive height, walking around backwards, drip painting and deconstructing some kind of butchered piano and all under a very witchy looking tree that I for one wouldn't hang around under after dark ..very strange.
John Lennon striding against the human traffic on a Liverpudlian high street and then the four of them meeting like some street gang, then even odder, The Beatles on horse back in some street which cuts to a decrepit ruin in the country, the four beatles decked out in red hunting jackets ride cryptically past a stage set up with drums and amps to a table where they are waited on by what look like four footmen before John Lennon upends the whole thing.
And the last clip...The Beatles elevated above a crowd made up of their musical peers including Keith Richards, Donovan, Marianne Faithful and Keith Moon, demi Gods in their own domain, Dons to the whole 60's pop gangster family, gazing down upon their minions and postulating about love and other weirdness while Mick Jagger sings and claps along looking like a sheepish schoolboy...what were these people on?
Strawberry Fields
Penny Lane
All You Need is Love
There something so unreal about The Beatles at this time, that they were so huge globally, universally even, yet their music and themselves seem so personal and familiar, like they are singing and playing to us, each and everyone individually.
The movie clips themselves are noteworthy for their very oddness, strangeness and at times down right sinister quality. You have the fab four wandering around some God forsaken autumnal moor or heath, in balaclavas and furs, jumping from an impressive height, walking around backwards, drip painting and deconstructing some kind of butchered piano and all under a very witchy looking tree that I for one wouldn't hang around under after dark ..very strange.
John Lennon striding against the human traffic on a Liverpudlian high street and then the four of them meeting like some street gang, then even odder, The Beatles on horse back in some street which cuts to a decrepit ruin in the country, the four beatles decked out in red hunting jackets ride cryptically past a stage set up with drums and amps to a table where they are waited on by what look like four footmen before John Lennon upends the whole thing.
And the last clip...The Beatles elevated above a crowd made up of their musical peers including Keith Richards, Donovan, Marianne Faithful and Keith Moon, demi Gods in their own domain, Dons to the whole 60's pop gangster family, gazing down upon their minions and postulating about love and other weirdness while Mick Jagger sings and claps along looking like a sheepish schoolboy...what were these people on?
Strawberry Fields
Penny Lane
All You Need is Love
Thursday, January 6, 2011
Gerry Rafferty...
I used to confuse Gerry Rafferty with Al Stewart, and admit I know little about both, but Baker Street? Well we all know Baker Street don't we?
When I used to get the National Express coach from Scotland down to London, as it pulled into Baker Street on it's way to Victoria Station I couldn't resist whistling that sax intro. I even got a cheer once for my efforts. Once, while travelling with a friend and fellow band mate at the time I started the usual whistling mainly out of habit by now. Said comrade hissed at me to stop!! Not cool you see, couldn't see the joke...well I always thought that Baker Street was very cool and as it turns out was actually no joke at all.
The song matter and lyrics are dark. It goes from 'I used to think that it was so easy' to 'life being trying' to 'you're cryin now' within three lines. Subjects such as break ups, break downs, settling down, one night stands, restlessness, new mornings and alcoholic struggle all hang on a flawless MOR production complete with up front congas. On a purely musical note, it must be one of the only songs ever to have a sax solo as a chorus instead of, well a sung chorus.
Rafferty had a great, natural singing voice and delivered the songs gloomy lyrics with a great sense of weight, sadness and weariness. It also has a nearly killer guitar solo, but I doubt most people remember the song for that, no it's all about the sax in the end, for most punters.
Investigating sixties folk through the re-issued Trans Atlantic back catalogue I was surprised to see Rafferty (which incidentally was also my grand mother's maiden name) pop up alongside Billy Connolly in a group called The Humblebums, and later I, like thousands of others, discovered another more sardonic side to Rafferty by way of Quentin Tarantino and his Reservoir Dogs "ear cutting scene". The wonderful "Stuck in the Middle with you" made Rafferty cool overnight to a whole new generation of music lovers.
It seems Gerry's life went tits up along time ago due to his love hate relationship with the bottle. Always sad to here of another long forgotten musicians lonely and slow demise into madness and death due to the demon drink, but then we all make our own lot in this life, and that's kind of reflected in his most famous song. I'm still none the wiser about Al Stewart though, Year of the Cat, that was him wasn't it? And so to that saxophone...
• Gerald Rafferty, musician, born 16 April 1947; died 4 January 2011
and to Stealers Wheels with Joe Egan on vocals singing "Stuck in the Middle With You" which he co wrote with Gerry Rafferty. Rafferty isn't featured in this clip, by this time he had left to pursue his solo career.
When I used to get the National Express coach from Scotland down to London, as it pulled into Baker Street on it's way to Victoria Station I couldn't resist whistling that sax intro. I even got a cheer once for my efforts. Once, while travelling with a friend and fellow band mate at the time I started the usual whistling mainly out of habit by now. Said comrade hissed at me to stop!! Not cool you see, couldn't see the joke...well I always thought that Baker Street was very cool and as it turns out was actually no joke at all.
The song matter and lyrics are dark. It goes from 'I used to think that it was so easy' to 'life being trying' to 'you're cryin now' within three lines. Subjects such as break ups, break downs, settling down, one night stands, restlessness, new mornings and alcoholic struggle all hang on a flawless MOR production complete with up front congas. On a purely musical note, it must be one of the only songs ever to have a sax solo as a chorus instead of, well a sung chorus.
Rafferty had a great, natural singing voice and delivered the songs gloomy lyrics with a great sense of weight, sadness and weariness. It also has a nearly killer guitar solo, but I doubt most people remember the song for that, no it's all about the sax in the end, for most punters.
Investigating sixties folk through the re-issued Trans Atlantic back catalogue I was surprised to see Rafferty (which incidentally was also my grand mother's maiden name) pop up alongside Billy Connolly in a group called The Humblebums, and later I, like thousands of others, discovered another more sardonic side to Rafferty by way of Quentin Tarantino and his Reservoir Dogs "ear cutting scene". The wonderful "Stuck in the Middle with you" made Rafferty cool overnight to a whole new generation of music lovers.
It seems Gerry's life went tits up along time ago due to his love hate relationship with the bottle. Always sad to here of another long forgotten musicians lonely and slow demise into madness and death due to the demon drink, but then we all make our own lot in this life, and that's kind of reflected in his most famous song. I'm still none the wiser about Al Stewart though, Year of the Cat, that was him wasn't it? And so to that saxophone...
• Gerald Rafferty, musician, born 16 April 1947; died 4 January 2011
and to Stealers Wheels with Joe Egan on vocals singing "Stuck in the Middle With You" which he co wrote with Gerry Rafferty. Rafferty isn't featured in this clip, by this time he had left to pursue his solo career.
Wednesday, January 5, 2011
Reefer Madness?
So what's it all about? Hypocrisy!! That's what it's all about brothers and sisters, and it is truly madness that Marijuana is still an illegal substance anywhere on this beautiful green planet and I will go to the grave saying the same thing, PROHIBITION OF POT DOES NOT, HAS NOT, AND NEVER WILL WORK...and that's the double truth Ruth! But you don't have to watch this great documentary to know this already, do you?
Whether you smoke or not, whether you've ever inhaled or not is not the issue here, the issue here is government control and political insanity, and of course big business and the pursuit of the corporate dollar.
My own experiences...In 2004 I spent three weeks in a detoxification unit coming off benzodiazepines, valium...it eventually took me over a year to get clean of benzo's. I've been through two alcohol detoxifications to stop using alcohol, I've been admitted to A&E over five times due to alcohol and drug overdoses. I've been through a twelve week rehabilitation programme to help me come to terms with my alcohol and methamphetamine use, I've withdrawn myself from opiates twice after being addicted to both heroin and morphine, I could go on.
Marijuana...I've used it on and off and on and off stopped started with absolutely no problems or ill effects whatsoever. I've smoked it 1,000's of times with nothing but good effects. Even now I smoke marijuana to help me sleep in favour of using sleeping pills (more dangerous addictive prescription drugs) to help treat chronic insomnia and anxiety. Two years ago I was busted for less than five dollars worth of marijuana, and now have a criminal record...Why? Because I broke a law that I believe is unjust, outdated, unrealistic and just plain dumb!
I think the evidence in this documentary for and against is evenly and shall I say soberly laid out in a way that even the most fervent Ronald Reagan loving, whiskey swilling, cigar smoking bigot would find it hard, nigh on impossible to argue the case for prohibition, and whether he or she ever takes up the habit or not isn't the issue, oops I've already said that haven't I? Side effects?
Whether you smoke or not, whether you've ever inhaled or not is not the issue here, the issue here is government control and political insanity, and of course big business and the pursuit of the corporate dollar.
My own experiences...In 2004 I spent three weeks in a detoxification unit coming off benzodiazepines, valium...it eventually took me over a year to get clean of benzo's. I've been through two alcohol detoxifications to stop using alcohol, I've been admitted to A&E over five times due to alcohol and drug overdoses. I've been through a twelve week rehabilitation programme to help me come to terms with my alcohol and methamphetamine use, I've withdrawn myself from opiates twice after being addicted to both heroin and morphine, I could go on.
Marijuana...I've used it on and off and on and off stopped started with absolutely no problems or ill effects whatsoever. I've smoked it 1,000's of times with nothing but good effects. Even now I smoke marijuana to help me sleep in favour of using sleeping pills (more dangerous addictive prescription drugs) to help treat chronic insomnia and anxiety. Two years ago I was busted for less than five dollars worth of marijuana, and now have a criminal record...Why? Because I broke a law that I believe is unjust, outdated, unrealistic and just plain dumb!
I think the evidence in this documentary for and against is evenly and shall I say soberly laid out in a way that even the most fervent Ronald Reagan loving, whiskey swilling, cigar smoking bigot would find it hard, nigh on impossible to argue the case for prohibition, and whether he or she ever takes up the habit or not isn't the issue, oops I've already said that haven't I? Side effects?
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