When the bus pulled into Wellington, I was the last to disembark
Someone superglued me to the back seat in the dark
is not "turning japanese" a description of the much-loved phenomenon known as "cumface" -
imagine the moment, make the face; you will have "turned" japanese
hey Lasttimes Cohen's music was not structurally crap; he merged folk country jewish tinpanalley cabaret and rocknroll effortlessly, repeatedly and singularly well - to the point where more of his songs are UNLIKE one another than are LIKE (in terms of *proot* "structure")
(and he's a great whistler)
(and not bad on the old jawharp)
- his songs beat his poems-on-paper hands down, and that's because of their beautiful music
freedom ?
just around the corner for you ?
but with truth so far off
what good will it do ?
---hollis bone
on the other hand
you would be awfully
and i mean awfully
close to austria
By calling it Rockstar colon INXS they're leaving it wide open for
folk like me to delete the INX and employ the backspace and brink you . . .
Rockstar colonS -
now there's a show i'd watch -
it would be, wie sagen sie, "the shit"
that's not the one i was thinking about, though that one has an interesting mythology of its own: the travelling bandsmen who eventually became shitwrecked junksodden bebop proselyters in New York in the late 30s/early 40s especially "dug" ("dag" ? "digged" ?) that particular interval, many of them in fact comparing it to that interval between the wearing-off of the 3 benzedrene-soaked cotton-balls pick-me-up downed at 4am in a tumbler of gin and the coming-on of the paregoric-and-coffee milkshake/demerol-spirette-in-the-back-of-the-knee/smackspoon-dregs lay-me-right-back-down "snack" administered at (depending on the longevity of this excellent regime) 10, 9, 8, 7 or 6 am
(so they say) - and in reverent tribute to the emotional/physical/psychic correlation between the two intervals (the two kinds of interval, that of the musical "distance" and that of the chemical "waiting-period," the instrumentalists started vomiting up the flattened fifths everywhere and when) (to the point where even in the 1960s "a flat five" was still in use in New Orleans (not New York - the drift is always Southwards) as slang for twenty bucks worth of heroin (why twenty? cos 5 twenties make a hundred, known as "an apartment" !) - recommended listening: Charlie Parker, Thelonius Monk, Bud Powell.
...and then there's the happy few
capable of being irreversibly damaged
by the music they don't even hear
- Novalis
for 700 years the catholic and orthodox eastern european church has taken many pains to eradicate the minor 7th chord, it being a device of the devil - they failed, as will you (topic poster) in your squeamish numbnuttity
danke, La; not a fan of Brecht but i know the thanksgiving hymn more from the later lines praising carrion; a very bitter poem and of course to be recited in the most lutheran tone of voice. hardly a fun party type choice. i'd like to hear shaft put some music to Ernst Jandl !
has anyone noticed the song after Might as Well be Dumb is an old song, the song after that is a cover, the song after that, the next "new" one, is an instrumental; then when they've had enough "being dumb" the song that next speaks is One of Many, which is either about the disintegration of one's personality or encouraging one's loved one to imagine that one is in fact another. rounding that all off we get Playing With Our Selves, another old song, whose title harks back to One of Many and whose repeated "feel good inside"s lead nicely to Can You Feel It where i take the second question to be "can you feel AT all?".. which is decently resolved in Just Because, since in order to wonder whether one's feeling "mad about you" constitutes good reason etc then one has to have those feelings and that answers that question. the way Just Because moves through 4 keys is a good analogy for the room spinning around. that's some of the little details i've noticed after a few weeks of hearing open sesame.
as for the gig... the guy who got up and shaked what i at first thought were those little percussion-eggs but then turned out to be plastic pill-containers was Stu Page, who was the first ever drummer back in 1992; he was in the Axemen for years before that, and has directed some great nz music videos like buddy by snapper, affco by skeptics and killer clown by superette.
i heard the slips were missing one guy. they were very good, they must be scary with all 7 (8?).
the tortured german bob was spouting was either some dead poet or the deutsch page off one of those 4-language instruction-manuals for dvds or video recorders. i detect ein bisl Bayern in his accent which disqualifies myself, i speak only good northern protestant german. (besides which i was geplastered)
what? pay to go see a bunch of old guys without the original singer/bassplayer who were never really that good anyway when you could pay to go see another bunch of old guys with a unique inflated octopoidal lineup and a brand new album to sell.
i'm talking about shaft. i know where i'll be
jon bywater's review of the shaft album in the listener was good, misquotations and flawed allusions and all; i only wish he got around to commenting on the second half. his mentioning dinah washington in a review of robert wyatt earns him special points from a committed washingtonian like myself
welcome to anagrams anonymous, no apologies necessary -
so ease 'em, p n*
*pleasant newcomer
and- would that matter ?