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So, having dealt with Spazmo the Kat -- he seems to be fine now -- some time to sit back and deal with email business for Temptation while listening to some music.
So, what comes up . . ?
1. "C'est Magnifique" -- Nelson Riddle and His Orchestra -- Ultra-Lounge 10: A Bachelor in Paris
2. "Bongo" -- Slim Galliard -- Laughing in Rhythm #2: Groove Juice Special
3. "Del Dan's Tree Farm" -- Primus -- Tales from the Punchbowl
4. "Here 'Tis" -- The Yardbirds -- Having a Rave Up
5. "She's a Heartbreaker" -- Gene Pitney -- Best of Gene Pitney
6. "Heela" -- John Parish and Polly Jean Harvey -- Dance Hall at Louse Point
7. "And I Love Him" -- Esther Phillips -- Atlantic Rhythm and Blues vol 5 - 1961-1965
8. "But You'll Never Do It Babe" -- The Boots -- Nuggets II
9. "Une Histoire de Plage" -- Brigitte Bardot -- Bubble Gum
10. "Dr. Evil" -- They Might Be Giants -- The Spy Who Shagged Me
A good group of songs, and the transitions between the first five were beautiful.
Oh my. A song has come up in the headphones that I haven't heard before -- I've been, um, finding albums online that look interesting and copping them, then just having the songs come up randomly in the playlist, discovering them. Just got a song from Psychedelia: Rare Blooms from the English Summer of Love -- "Scream in the Ears" by Bill Fay. Woah. Okay, now listened to it five times in a row, on the sixth. Jesus. Can't tell whose side the song is on . . . it's sung from the point of view of a "straight" guy at a "hip" party, probably there against his will (his "wife's in the bedroom with everyone else" but he "don't want to play"). He turns down some sherry, finishes his cigarette, doesn't want another beer, tells anyone asking him his name to get lost, he doesn't want to hear any more stupid jokes, is tired of the sounds of everyone screaming around him, and just keeps saying to himself, sarcastically "What a great party this is . . " And that's it. There's something about a suicide in the last verse, and he seems to be telling someone that he knows it wasn't really a suicide, it was the other person's fault (but here his words are unclear in a combination of slurred diction, accent, and, possibly, British slang unfamiliar to me).
It sounds like a bit of a response to Dylan from the viewpoint of Mr. Jones . . . but is the song on his side or not? He's uncool, but amongst a bunch of poseurs. Who's worse? There's a piano that sounds like a sad, less direct version of the "Thin Man" driving force, and a distant organ, the sound of 3 am haze, drugs and alcohol wearing off, confusion, weariness -- but so straight, so uncool -- the sound of British pop studio musicians, 1967, instead of Dylan, Bloomfield, Kooper et al, 1965. Fay tries to sound like Dylan at times, but comes off petulant rather than vicious, and yet, somehow, conveys that he is right. The poseurs are wrong, not for any of their actions, but because in their desire to out-"hip" each other, they've cut themselves off from any kind of human feeling (a serious version of David Bowie's jokey, silly "Join the Gang" from the same year). A stunning recording. Three minutes, twenty-three seconds. Three verses, no real "chorus." Containing so much.
Okay, damn I'm late -- gotta drive into Manhattan and up to Medicine Show -- Daniel Kleinfeld's making a short video for Bryan Enk's compilation project (10 short horror pieces by 10 directors) and I'm lighting for him. His piece is mostly still images with one moving camera shot, and today we're doing the stills -- I don't know entirely what they entail, but he asked me to help. Lighting the 180-degree dolly shot next week will be more of a challenge. I'm also supposed to be one of the 10 directors making a piece for Bryan, and I'm not sure if I can pull it off in time. Maybe next week.
Later today, an update on the past week in Temptation rehearsals, and, I guess, a Fall Preview from me of all the shows I'd like to go see in the next few months, but will never be able to afford tickets for.
So, what comes up . . ?
1. "C'est Magnifique" -- Nelson Riddle and His Orchestra -- Ultra-Lounge 10: A Bachelor in Paris
2. "Bongo" -- Slim Galliard -- Laughing in Rhythm #2: Groove Juice Special
3. "Del Dan's Tree Farm" -- Primus -- Tales from the Punchbowl
4. "Here 'Tis" -- The Yardbirds -- Having a Rave Up
5. "She's a Heartbreaker" -- Gene Pitney -- Best of Gene Pitney
6. "Heela" -- John Parish and Polly Jean Harvey -- Dance Hall at Louse Point
7. "And I Love Him" -- Esther Phillips -- Atlantic Rhythm and Blues vol 5 - 1961-1965
8. "But You'll Never Do It Babe" -- The Boots -- Nuggets II
9. "Une Histoire de Plage" -- Brigitte Bardot -- Bubble Gum
10. "Dr. Evil" -- They Might Be Giants -- The Spy Who Shagged Me
A good group of songs, and the transitions between the first five were beautiful.
Oh my. A song has come up in the headphones that I haven't heard before -- I've been, um, finding albums online that look interesting and copping them, then just having the songs come up randomly in the playlist, discovering them. Just got a song from Psychedelia: Rare Blooms from the English Summer of Love -- "Scream in the Ears" by Bill Fay. Woah. Okay, now listened to it five times in a row, on the sixth. Jesus. Can't tell whose side the song is on . . . it's sung from the point of view of a "straight" guy at a "hip" party, probably there against his will (his "wife's in the bedroom with everyone else" but he "don't want to play"). He turns down some sherry, finishes his cigarette, doesn't want another beer, tells anyone asking him his name to get lost, he doesn't want to hear any more stupid jokes, is tired of the sounds of everyone screaming around him, and just keeps saying to himself, sarcastically "What a great party this is . . " And that's it. There's something about a suicide in the last verse, and he seems to be telling someone that he knows it wasn't really a suicide, it was the other person's fault (but here his words are unclear in a combination of slurred diction, accent, and, possibly, British slang unfamiliar to me).
It sounds like a bit of a response to Dylan from the viewpoint of Mr. Jones . . . but is the song on his side or not? He's uncool, but amongst a bunch of poseurs. Who's worse? There's a piano that sounds like a sad, less direct version of the "Thin Man" driving force, and a distant organ, the sound of 3 am haze, drugs and alcohol wearing off, confusion, weariness -- but so straight, so uncool -- the sound of British pop studio musicians, 1967, instead of Dylan, Bloomfield, Kooper et al, 1965. Fay tries to sound like Dylan at times, but comes off petulant rather than vicious, and yet, somehow, conveys that he is right. The poseurs are wrong, not for any of their actions, but because in their desire to out-"hip" each other, they've cut themselves off from any kind of human feeling (a serious version of David Bowie's jokey, silly "Join the Gang" from the same year). A stunning recording. Three minutes, twenty-three seconds. Three verses, no real "chorus." Containing so much.
Okay, damn I'm late -- gotta drive into Manhattan and up to Medicine Show -- Daniel Kleinfeld's making a short video for Bryan Enk's compilation project (10 short horror pieces by 10 directors) and I'm lighting for him. His piece is mostly still images with one moving camera shot, and today we're doing the stills -- I don't know entirely what they entail, but he asked me to help. Lighting the 180-degree dolly shot next week will be more of a challenge. I'm also supposed to be one of the 10 directors making a piece for Bryan, and I'm not sure if I can pull it off in time. Maybe next week.
Later today, an update on the past week in Temptation rehearsals, and, I guess, a Fall Preview from me of all the shows I'd like to go see in the next few months, but will never be able to afford tickets for.
