Genesis - More Fool Me The worst song on any Genesis album, even on those albums where "worst" is a very relative term to say "the slightly less wonderful one among the others," otherwise what's the point? Well, do I need to justify it too?
 
The Tell-Tale Hearts: "(You're a) Dirty Liar" (Calhoun/Stax) 1983 demo.

A bunch of tough guys with big noses and pizza faces.

The definition is by Gwynne Kahn, who at the time was the keyboardist for the Pandoras.

In reality, they were the best mid-80’s garage band in the San Diego area. Far from the outrageous teen-punk of Gravedigger V and the deranged violence of the Morlocks, the Tell-Tale Hearts were born out of Mike Stax's desire to sound like the Pretty Things from Get the Picture?.
And that’s exactly how these five bastards managed to play for three and a half years, a stunning cocktail made up of Pretty Things, Q65, Outsiders, and Shadows of Knight mixed with various R 'n B messes— a full immersion into a jungle of maracas, blues harmonicas that cut like blades, and cave-like reverbs that satisfied Mike's increasing need since those dull English afternoons, only slightly alleviated by experiences with the Crawdaddys and shared with Ray Brandes and the latter’s classmate (and boyfriend of his sister, NdLYS) Bill Calhoun. They weren't the only things Bill and Ray shared: they also had the same band, one of many retro-bands that were populating the country at that time, called Mystery Machine.
It was from that band that they let David Klowden go, to seat him on the stool of the new group.

Eric Bacher was a slacker who enjoyed playing in the unknown Freddie & The Soup Bowls and who had lately taken to hanging around 2378 Presidio Drive, a house just like a thousand others placed in a row in one of the city’s residential neighborhoods. He was the fifth man in what would become the "heart revealing" band, a name stolen from Poe’s book where Stax drowns his frustration over the split of the Crawdaddys. A group with enormous potential but also with too many constraints and rules to follow.

The new band chooses to have only one: to have none.

When they step on stage, the Tell-Tale Hearts are a pack. With Ray barking like a dog and shaking his maracas like a madman, Bill often abandoning the rusty structure of his VOX organ to dive into biting blues harmonica phrases, Eric caught up in his jungle-beat drowned in fuzz, the effete Mike with his collection of vintage basses and his caveman screams in heat, and David lost behind a tiny drum kit, pounding like a peasant’s feet in a mortar.

All equally indispensable.

Five wild kids with a gravedigger's shovel hidden in their underwear.

With that, they break through the soft crust of rock from Odyssey to dive into the tunnels that lead them to the heart of the tiny garage bands of the ‘60s. That's where it all begins, recording a demo at Studio 517 in San Diego with tracks stolen from the dusty 7” singles collected by Mike. The first original piece is credited to Stax/Calhoun and is titled Dirty Lia.
 
Emerson, Lake & Palmer - Lucky Man The Emerson, Lake & Palmer that don’t drive me (us?) crazy. And this is the third gem from the first album, of course. An immortal evergreen that kicks off the series of beautiful songs (simply songs) scattered by Gregorio Lago across the trio's various albums. You can’t say anything against it, it’s a great piece.
 
Gente Di Mare

#canzonisottolanaja

Memories of a world that no longer exists
15/18
 
The servant - Joseph Losey (1963)

"The Servant"
by Joseph Losey (1963)
 
Abdullah Ibrahim - Nisa

Abdullah Ibrahim (Dollar Brand) (8 out of 10)
"Nisa" from: No Fear, No Die
1993 (enja)

#jazzlegends
 
.:. Alessandro Baricco remembers Carmelo Bene .:.

I had imagined him definitively swallowed up by an unimaginable daily life, ground down by his own genius, taken away on galaxies of his own, dubbing planets only he knew.

Lost, in short.

Then he started touring with this unusual show of his, a reading of the "Canti Orfici" by Dino Campana.

I nearly missed him countless times, and in the end, I managed to find a seat in a theater, right in front of Him.

In Naples, at the Augusteo.

Dark stage, just a lectern.

Him, there, with a headband like McEnroe, and white greasepaint under his eyes.

A microphone in front of his mouth, and a light on him.

Fifty minutes, no more.

I don’t know about others: but I will remember those minutes for as long as I live.

It’s not something that can be put into words what I felt.

Nor what, precisely, he does with his voice and those words that aren’t his own.

To say that he reads is ridiculous.

He becomes those words, and those words are no longer words, but voice, and sound that happens becomes that-which-happens, and thus everything, and the rest is nothing.

When I left, I couldn't say what those texts meant.

The fact is that in the moment Carmelo Bene pronounces a word, in that moment, you know what it means: an instant later, you don’t know anymore.

So the meaning of the text is something you perceive, yes, but in the airy form of a disappearance, you feel the flapping of wings, but you don’t see the bird: flown away, so, continuously, obsessively, with each word.

And so I don’t know about others, but I understood what I had never understood, namely that meaning, in poetry, is an appearance that disappears.

When you hear Carmelo Bene, you realize that sound is not something different from meaning, but its extreme season, its last piece, its necessary eclipse.

I have always instinctively hated poems in which nothing is understood, not even what they are about.

What one should know how to write are words that have a perceivable meaning until the moment you pronounce them, and then they become sound, and then, only then, the meaning disappears.

You hear Carmelo Bene and the poet disappears, expresses and communicates nothing, the actor disappears, expresses and communicates nothing: they are the banks of a billiard table where the ball of language traces trajectories that draw sound figures: and those figures are icons of the human.

Carmelo Bene explains almost nothing during the performance.

And when he does, it leaves a mark.

He says: to read is a way of forgetting.

I had heard it before: but it’s there that I understood it. Writing and reading tightly bound in a single gesture of disappearance, of farewell.

Then I thought that one writes many things in life, and many are normal: they tell or explain, and that’s fine, it's still a beautiful thing, to write.

But it would be wonderful, at least once, to manage to write something, even a p a
 
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COELUMBIA
[Action! The script gets mangled!]

Episode [14x 30]
 
Car Seat Headrest - How to Leave Town [2014.10.31] (Full Album) great work #lofi with a touch of melancholy. Recommended
GOOD NIGHT
 
Beneath the Remains

I don’t know, I’ll just go smooth.
 
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COELUMBIA
[Action! It's distorted!]

Preview [14x 30]
Associated LP from 1972
 
I thought it over The Zantees.

On July 4, 1976, Miriam Linna arrives in New York from Cleveland after a brief stay in London. She wanders through the clubs where the tiny bands she reads about in Bomp! play, until she stumbles upon the most beautiful couple she’s ever seen. Their names are Erick Lee Purkhiser and Kristy Marlana Wallace, and they are looking for someone to replace the drummer of their disastrous rockabilly band: Miriam will take Pam Balam's place behind the drums of the Cramps from September of that year until the next.

The encounter with the man who will become the love of her life happens around that time: she is a fanatic of rock ‘n’ roll magazines and records. So is he. She’s looking for a copy of You Must Be a Witch. He has it. He sells it to her or maybe, who knows, he gives it to her. But from that moment on, Miriam and Billy Miller become one in body and soul. They listen, play, sell, write, print a ton of stuff. They will found a phenomenal record store and mail order, set up the biggest competitor to Greg Shaw's Bomp! magazine, and start a bunch of ragtag bands, first among them the Zantees, a quintet that sounds like the Cramps trying to play like the Blasters. Can you imagine?

The Zantees are born in that last sliver of summer in ’77, as an impromptu band to open for a Fleshtones show. It’s Greg Shaw who brings them into his fold to record an album, having already entrusted Linna with the direction of Flamin’ Groovies Monthly. The result is released in 1980, when the band has honed their technical skills from the basic level to the level of “basic. But in time.” The Statile brothers are recruited on guitars, while the role of part-time bassist is filled by Rob Norris, the last guitarist of the Velvet Underground. On piano, also part-time, is Peter Holsapple from the dB’s.

The Zantees don’t wear silly rockabilly outfits, they don’t have pompadours or patent leather shoes. They are simply the spirit of the most authentic rock ‘n’ roll, that of the B-list rockers who never made it to television, and whose years in the service no one has ever documented a single day of. People like Jimmy Carroll or Bill Allen or Leon Payne. Whose songs end up here, in a tattered rockabilly that hasn’t been embalmed with pomade but continues to sizzle like the first guitar amplifiers and the panties of the teenage girls of the Fifties.

Thank Reverendo…