Lux and Ivy with Sham 69 and Rodney and Debbie and other scenesters, September 9, 1979. Picture by famous L.A. punk photographer, Jenny Lens. Source : http://jennylens.com/
bogdan at the bukowski.net/forum sez: "Found on the internet 2 Bukowski portraits painted with wine, that I think are worth a look. The painter's name is Marcelo Daldoce. There's also a small movie on YouTube with the "making of" of one of the portraits."
TUESDAY, 6 OCTOBER 2009 Marianne Faithfull "A Child's Adventure" (1983) STILL BROKEN, BUT WITH BEAUTY When Marianne Faithfull released her comeback album, "Broken English", in 1979, it was widely received by the buying public and critically acclaimed as a "masterpiece". She followed that up in 1981 with "Dangerous Acquaintences" which, though not quite on the par of "Broken English", was deemed an excellent piece of music and a natural follow-up to "Broken English".
Then, in 1983, Marianne released "A Child's Adventure". Of the same musical vein and mold as "Broken English" and "Dangerous Acquaintences" these three albums are often referred to as her "Trilogy". After "A Child's Adventure", Marianne has changed musical directions several times. "A Child's Adventure" is another excellent piece of work from Marianne Faithfull. It starts off with "Times Square", a true MF classic. The bluesy "The Blue Millionaire" is somewhat of a departure for Marianne, at least up to that point, and gives credence to Marianne as a great musical stylist. "Falling From Grace" is an excellent autobiograpical song about her drug problems/bust. The poignant "Morning Come" and "Ashes In My Hand" shows, once again, the depth of her musical range and style. "Running For Our Lives" is another MF classic and is in close running with "Times Square" as my personal favorite from the CD. Marianne Faithfull is a uniquely gifted and talented artist and song stylist. One listen to "A Child's Adventure" and the other albums that make up her "Trilogy", and you will see for yourself. The music of Marianne Faithfull is a wonderfully diverse tapestry of folk, pop, rock, punk, show tunes, and cabaret. This one may not be "Broken English", but it is Marianne. Excellent music from a truly great artist!
A1 Times Square 4:22 A2 The Blue Millionaire 5:35 A3 Falling From Grace 3:54 A4 Morning Come 5:16 B1 Ashes in My Hand 4:51 B2 Running for Our Lives 4:48 B3 Ireland 4:39 B4 She's Got a Problem 3:56
TUESDAY, 6 OCTOBER 2009 Marianne Faithfull "Dangerous Acquaintances" (1981) WHERE DID IT GO TO, MY YOUTH? During her 1980's comeback into the 'upwardly cool of rock circles,' Marianne Faithfull has once again put her life into song with 'Dangerous Acquaintances.' My favorites on this release are 'Intrigue' and 'Truth, Bitter Truth.' Both songs show a deep reflection of her take on relationships and life...as told in a way only Ms. Faithfull can convey. The whole CD is a 'this is what's been going on with me' letter as told by a woman who stands as a testament to strength of character and firmness of purpose.
Faithfull's voice is the center of the album. It is worn, tired, and corroded with a life far too acquainted with the worst life can throw at you and is completely unlike any other female rock voice, ever. The songs on the album vary in feel and tempo, but all of them resolve into themes of loneliness and lost love. My two favorite songs range from the charming "Easy in the City" with it's wonderful midtempo rock beat and vibe to the final song on the album, the absolutely devastating "Truth Bitter Truth". One line in that song, "Where did it go to, my youth" so matches her voice it stabs me right in the heart whenever I listen to it.
"Dangerous Acquaintences" is the second album in what often are referred to as her Trilogy of her soul. "Broken English" and "A Child's adventures", the two others. The strength of this album is in the lyrics...although some of the music could have been done differently...but it was the 80's.
A1 Sweetheart 3:15 A2 Intrigue 4:29 A3 Easy in the City 3:16 A4 Strange One 2:51 A5 Tenderness 3:53 B1 For Beautie's Sake 3:30 B2 So Sad 4:31 B3 Eye Communication 3:35 B4 Truth Bitter Truth 7:24
TUESDAY, 6 OCTOBER 2009 Marianne Faithfull "Broken English" (1979) FISTFUL OF FURY Even as she had hits in the '60s with "As Tears Go By" (written by her paramour Mick Jagger), Marianne Faithfull was primarily known as Jagger's girlfriend, and any sort of talent she may have possessed was not worth noting. But after she and Mick called it off, Faithfull began a slow recovery back into both her music and her life. Heroin addiction had sent Faithfull on a nightmarish journey that would be effectively captured on the Rolling Stones' classic "Sister Morphine".
It's late 1979. The last three years have brought wave after wave of new bands; snot-nosed punks all of them, approaching their demons from mostly the same angle with fistfuls of fury and tormented voices. Then out of some deep hibernation comes this bird, a child of the sixties who's obviously seen past the wall of incense smoke and peered behind the beaded curtain. Marianne Faithfull lays down her own demons and concerns, one by one, the personal next to the public. She seethes, crackles, and spits out her lyrics like venom. Her version of "Working Class Hero" is as good as Lennon's in my book; the title cut has no equivalent outside of Patti Smith and is more in alignment with the British wing of punk that was contemporary with this album; "Guilt" is as direct a statement as "Broken English" albeit in the personal realm, not the political; and in "Why'd'ya Do It?" she made a song that not only got me hooked on her from just reading about it, but that delivers a vituperative punch that no female rocker until PJ Harvey. The album was widely hailed by critics and audiences alike on its release, going platinum without the aid of a huge hit single. Even better, it sounds like a debut album from a totally different artist, which in many ways it is. "As Tears Go By", be damned. This is Marianne Faithfull at her most naked and emotional. This woman is an inspiration, a survivor!
A1 Broken English 4:34 A2 Witches' Song 4:43 A3 Brain Drain 4:13 A4 Guilt 5:05 B1 The Ballad of Lucy Jordan 4:09 B2 What's the Hurry? 3:05 B3 Working Class Hero 4:40 B4 Why D'Ya Do It 6:45
MONDAY, 5 OCTOBER 2009 Marianne Faithfull "Blazing Away" (1990) HELLO MARIANNE, IT'S TIME THAT WE BEGAN Live albums are often regarded as poor relations to the 'proper' studio output, often wrongly. Blazing Away is an example of one of the lost treasures which are so easily overlooked this by this attitude.
It starts slowly, but gets into it's stride with Guilt, the venom starting to flow in preparation for the main course. Enter Working Class Hero, a track she has almost made her own, shame about the instrumental jazz ramblings in the middle but what do you expect from Greenwich Village session musicians (I havent Googled, I may be doing them a disservice)? Nonetheless she delivers it with true power and anger, spitting bile over the small audience. It was recorded in St. Annes Cathedral, Brooklyn, and the acoustic is utterly superb. The sound manages to be both expansive and intimate, not an easy combination. This acoustic frames a blinding performance of Sister Morphine beautifully, Marianne projecting the emotion invoked by Jaggers masterpiece as if she was walking you round the inside of her life. Which, of course, she is. It's why we love her. The album is worth getting for this track alone. I cried.
I cried for different reasons at an enormously indifferent performance of Why D'Ya Do It though. Unfortunately this iconic track has become a cliché, and now she sings it with a happy twinkle in her eye; the bite is lost, along with Steve York's original driving bassline. One Fernando Saunders, who also co-produced, was way out of his depth here. Easily the lowest point on the album.
Lucy Jordan soon dispels the gloom and Times Square is a tour de force. Another, more unexpected, highlight is an eerie lament 'She Moves Through The Fair'. This is performed solo and in total silence from the audience. Sent a shiver down my spine. The finale is of course Broken English, performed with a profound honesty, and another track that defeats the bassist.
All in all though, as an exibition of that astonishing chainsaw through silk voice this is an umissable album, superbly produced and engineered. There are many Greatest Hits collections out there, but this one has a twist.
1 Les prisons du Roy 6:16 2 Strange Weather 5:12 3 Guilt 7:51 4 Working Class Hero 6:07 5 Sister Morphine 7:25 6 As Tears Go By 4:25 7 Why'd Ya Do It? 6:31 8 When I Find My Life 2:59 9 Ballad of Lucy Jordan 5:08 10 Times Square 4:57 11 Blazing Away 4:10 12 She Moved Through the Fair 2:09 13 Broken English 7:37
POSTED BY TIME BANDIT
(AS USUAL YOU MUST LINK TO THE ORIGINAL BLOGPOSTINGS [at C-60, in this case] FOR THE DOWNLOAD LINKS)
Journey in Time part 1 of 3 posted by robotilt Journey in Time is a gritty cinema verite anti drug film by Johann Rush and Alan Hodd from 1971. Filmed in Dallas and San Francisco, the film is notable for its use of the song "Journey To Tyme" by Kenny & the Kasuals whose members disclaim being asked for or giving their permission for its use. Also notable are the all too brief clips of Dallas freaks of the day.
"Another thread has me pulling out a purple (settle down) scrapbook that has some c1978 photocopies of The Outsider. Copies were in the general stacks at UBC back then. I guess if I was a thief I'd have those copies as security was sporadic at the checkout at best. No beeping sensors, etc., just students opening up briefcases.
Apologies for the poor centering of these copies and the ensuing scribble to include cropped lines. All I can tell you is my handwriting has deteriorated over the years.
Enough. Here's a beginning salvo about 'the outside of the year'..."
Sunday, October 4, 2009 Kevin Ayers - Joy of a Toy (1st Album UK Progressive Rock 1969) . Size: 126 MB Bitrate: 256 mp3 Ripped By: ChrisGoesRock Artwork Included
Kevin Ayers is one of rock's oddest and more likable enigmas, even if often he's seemed not to operate at his highest potential. Perhaps that's because he's never seemed to have taken his music too seriously — one of his essential charms and most aggravating limitations. Since the late '60s, he's released many albums with a distinctly British sensibility, making ordinary lyrical subjects seem extraordinary with his rich low vocals, inventive wordplay, and bemused, relaxed attitude. Apt to flavor his songs with female backup choruses and exotic island rhythms, the singer/songwriter inspires the image of a sort of progressive rock beach bum, writing about life's absurdities with a celebratory, relaxed detachment. Yet he is also one of progressive rock's more important (and more humane) innovators, helping to launch the Soft Machine as their original bassist, and working with noted European progressive musicians like Mike Oldfield, Lol Coxhill, and Steve Hillage.
Ayers cultivated a taste for the bohemian lifestyle early, spending much of his childhood in Majorca before he moved with his mother to Canterbury in the early '60s. There he fell in with the town's fermenting underground scene, which included future members of the Soft Machine and Caravan. For a while he sang with the Wilde Flowers, a group that also included future Softs Robert Wyatt and Hugh Hopper. He left in 1965, met fellow freak Daevid Allen in Majorca, and returned to the U.K. in 1966 to found the first lineup of the Soft Machine with Allen, Wyatt, and Mike Ratledge.
Wyatt is usually regarded as the prime mover behind the Soft Machine, but Ayers' contributions carried equal weight in the early days. Besides playing bass, he wrote and sang much of their material. He can be heard on their 1967 demos and their 1968 debut album, but by the end of 1968 he felt burned out and quit. Selling his bass to Mitch Mitchell of the Jimi Hendrix Experience, he began to write songs on guitar, leading to a contract with Harvest in 1969. His relationship with his ex-Soft Machine mates remained amiable; in fact, Wyatt and Ratledge (as well as Ayers' replacement, Hugh Hopper) guested on Ayers' 1969 debut.
Ayers' solo material reflected a folkier, lazier, and gentler bent than the Soft Machine. In some respects he was comparable to Syd Barrett, without the madness — and without the ferocious heights of Barrett's most innovative work. Ayers was never less than enjoyable and original, though his albums were erratic right from the start, veering from singalong ditties and pleasant, frothy folk ballads to dissonant improvisation. The more ambitious progressive rock elements came to the forefront when he fronted the Whole World in the early '70s. The backing band included a teenage Mike Oldfield on guitar, Lol Coxhill on sax, and David Bedford on piano. But Ayers only released one album with them before they dissolved.
Ayers continued to release albums in a poppier vein throughout the '70s, at a regular pace. As some critics have noted, this dependable output formed an ironic counterpoint to much of his lyrics, which often celebrated a life of leisure, or even laziness. That lazy charm was often a dominant feature of his records, although Ayers always kept things interesting with offbeat arrangements, occasionally singing in foreign tongues, and flavoring his production with unusual instruments and world music rhythms. He (or Harvest) never gave up on the singles market, and indeed his best early-'70s efforts in that direction were accessible enough to have been hits with a little more push. Or a little less weirdness. Even Ayers at his most accessible and direct wasn't mainstream, a virtue that endeared him to his loyal cult.
That cult was limited to the rock underground, and Ayers logically concentrated on the album market throughout the 1970s. Almost always pleasant, eccentric, and catchy, these nonetheless started to sound like a cul-de-sac by the mid-'70s. Ayers pressed on without changing his approach, despite the dwindling audience for progressive rock and the oncoming train of punk and new wave. He only recorded sporadically after 1980, though he remained active in the 1990s, mostly on the European continent. His later work has gotten virtually no exposure whatsoever in the States, where he was known only by underground, progressive rock enthusiasts, even at his peak.
01. Joy Of A Toy Continued 02. Town Feeling 03. Clarietta Rag 04. Girl On A Swing 05. Songfor Insane Times 06. Stop This Train (Again Doing It) 07. Eleanor's Cake (Which Ate Her) 08. Lady Racheal 09. Oleh Bandu Bandong 10. All This Crazy Gift Of Time 11. Religious Experience (Singing A Song In The Morning) 12. Lady Racheal 13. Soon Soon Soon 14. Religious Experience (Singing A Song In The Morning) 15. Lady Racheal 16. Singing A Song In The Morning
Posted by Drop Out Boogie at Sunday, October 04, 2009 2 comments
(Link to original Drop Out Boogie blogpost for download)
CODEX SERAPHINIANUS is an encyclopedia of a made-up universe, written and illustrated by Luigi Serafini in the 1970s. It is an imaginary record of a strange world written in an invented language, divvied up into 11 chapters. The first section appears to describe the natural world, dealing with flora, fauna, and physics. The second deals with the humanities, the various aspects of human life: clothing, history, cuisine, architecture and so on.
"ŒUFS" (Eggs), illustration by Adolphe Millot (1857 - 1921) from Nouveau Larousse Illustré [1897-1904] Key: The original French designation may not correspond to the modern French term. Eggs 1 - 58 are shown reduced in size by about a third and eggs 59 - 72 are enlarged seven to eight times (the whole illustration is about 19.8cm wide by 26.3cm high). Original / English 1 De bondrée Of honey buzzard (?) 2 De faucon Of falcon (?) 3 D'épervier Of Eurasian sparrow-hawk 4 De merle Of blackbird 5 De grive Of thrush 6 De freux Of rook 7 De bruant proyer Of corn bunting 8 De gros-bec Of hawfinch (or perhaps another grosbeak?) 9 De moineau Of sparrow 10 De pinson Of chaffinch (or other finch?) 11 De pitpit Of pipit 12 De bruant des roseaux Of reed bunting 13 De coucou Of cuckoo 14 De petit oiseau-mouche Of hummingbird (?) 15 De bec-croisé Of crossbill 16 De troglodyte Of wren 17 De sittelle Of nuthatch 18 De rossignol Of nightingale 19 De roitelet Of Kinglet (Goldcrest?) 20 D'accenteur Of accentor 21 De bruant fou Of rock bunting 22 D'effarvate Of reed warbler 23 De rousserolle Of sedge warbler (or other Acrocephalus?) 24 De fauvette Of warbler (??) 25 De mésange Of tit (?) 26 D'hypolaïs Of tree warbler 27 De jaseur Of waxwing 28 De loriot Of oriole 29 De jacana Of jacana 30 De grouse (?) Of grouse (?) 31 De lagopède Of lagopus 32 De faisan Of pheasant 33 De perdrix Of partridge 34 De caille Of quail 35 D'avocette Of avocet 36 De chevalier arlequin Of spotted redshank 37 De pluvier guignard Of dotterel 38 De pluvier de Virginie (??) Of plover (??) 39 De vanneau Of lapwing 40 De chevalier cul-blanc Of green sandpiper 41 De sterne hybride (??) Of tern (??) 42 D'hirondelle de mer Of common tern 43 De sterne de Ruppell (??) Of tern (??) 44 De goéland Of seagull 45 De plongeon Of loon 46 De guillemot Of guillemot 47 De grand pingouin Of great auk 48 & 49 De macareux Of puffin 50 De grèbe Of grebe 51 De Emyde Of Emydidae (?) 52 De tortue mauritanique (?) Of Testudo mauritanica (?) 53 & 54 De rousettes Of catshark (Scyliorhinus) (mermaids' purses) 55 De squale Of shark (?) 56 De chimère Of chimaera 57 De lamproie Of lamprey 58 De seiche Of cuttlefish 59 D'arctia Of Arctia 60 D'acidalie (?) Of Geometer moth (especially genera Idaea & Scopula) (?) 61 De nemoria Of Geometer moth genus Nemoria 62 De colias Of Colias butterfly 63 De diloba Of Diloba butterfly 64 De satyre Of Lasiommata megera 65 De cyclopide Of Cyclopides butterfly genus (?) 66 De laphygma Of Laphygma moth genus 67 D'acosmétie Of Acosmetia moth genus 68 D'ennemos Of Ennemos moth genus 69 D'attacus Of Attacus genus of butterfly 70 De limenitis Of Limenitis genus of butterfly 71 De bryophile Of Bryophila moth genus (??) 72 De eubolie Of Catarhoe moth genus (??)
yasunao:ステファニー・ジョアン・アンジェリーナ・ジャーマノッタは「ガガ」かわいい！:アルファルファモザイク
Swing-a-ling mobile record shack,1970's
Arnold Böcklin ~ Isle of the Dead
Charles W. Stewart - Cover illustration for Bertrand Russell. Nightmares of Eminent Persons and Other Stories. London: The Bodley Head, 1954.
Moe Howard of the Three Stooges
Lux and Ivy with Sham 69 and Rodney and Debbie and other scenesters, September 9, 1979. Picture by famous L.A. punk photographer, Jenny Lens. Source : http://jennylens.com/
Famous Monsters Do-It-Yourself Monster Make-Up Handbook
A semi-nude Germaine Greer with Viv Stanshall from The Bonzo Dog Doo-Dah Band
Steinway Art Case Flügel Quelle: historisches Bild Datum: 20.01.1908 Autor: Steinway Quelle: KarlKunde
“A paranoid man is a man who knows a little about what’s going on. A psychotic is someone who just found out what’s going on.” - William S. Burroughs
Everyone's favorite George Jones photo
My favorite Joey Ramone photo
Everyone's favorite James Brown photo treatment
Everyone's favorite Kim Fowley photo
Everyone's favorite Bubbles Jackson photo
