Archive for the ‘YouTube’ tag
Some politician wants to make Jonathan Richman and the Modern Lover’s seminal tune, Roadrunner, into the Official State Song. I could agree with that. I remember listening to this song back in the stone age, before CDs, and I always loved it. Maybe because it is so much a descendant of the Velvet Underground sound, or just because it is cool. I had forgotten that John Cale produced the song.
One of these days I’ll be a tourist in Boston…
Roadrunner, filmed in Boston, circa 1976
I’ve never been to Massachusetts, but this song evokes what MA is, to me anyway.
Richman’s band The Modern Lovers first recorded “Roadrunner” with producer John Cale (previously of the Velvet Underground) in 1972. This version was first released as single and in 1976 on The Modern Lovers’ long-delayed but highly acclaimed debut album (originally Home of the Hits HH019). Later in 1972, the group recorded two more versions with Kim Fowley, which were released in 1981 on the album, The Original Modern Lovers (Bomp BLP 4021). A live version from 1973 was also later officially released on the album, Live At Longbranch Saloon. The most commercially successful version of the song, credited to Richman as a solo artist, was recorded for Beserkley Records in late 1974, produced by label boss Matthew King Kaufman, featured Jonathan backed by The Greg Kihn Band and released at the time on a single (Beserkley B-34701) with a B-side by the band Earth Quake. Kaufman stated: “To record “Roadrunner” took the 3 minutes 35 seconds for the performance, about another 30 minutes to dump the background vocals on, and another 90 minutes to mix it”. Actually Kaufman was mistaken – this version is listed on the UK release of the single as being 4:40. This version was reissued in 1975 on the album Beserkley Chartbusters Vol. 1(Beserkley JBZ-0044). In the UK, where Richman had received substantial and very positive publicity in the music press, it was released in 1977 as a single (Beserkley BZZ 1), known as “Roadrunner (Once)” and credited to Jonathan Richman, with the Cale-produced “Roadrunner (Twice)” on the B-side, credited to The Modern Lovers, and lasting approximately 4:06. This single reached number 11 in the UK singles chart in August 1977. The differences among all these versions are in the lyrics, the duration, the instrumentation (electric garage rock vs. acoustic rock) and the way Jonathan sings them.
(click here to continue reading Roadrunner (Jonathan Richman song) – Wikipedia, the free encyclopedia.)
and from Rolling Stone:
Jonathan Richman used to describe “Roadrunner,” the best-known song by his band the Modern Lovers, as a “geographical love song.” Now his affection for his home state is on the verge of being institutionalized: there is a movement underway to make the classic song – an ode to the singer’s native Massachusetts as it appeared through his windshield (“Gonna drive past the Stop and Shop with the radio on”) – the state’s official rock song.
Last week, Massachusetts State Representative Marty Walsh filed a bill proposing as much. Jerry Harrison, who joined Talking Heads after the first recorded lineup of the Modern Lovers split, tells Rolling Stone he’s pleased. “I can’t tell you how many congratulatory emails I’ve gotten,” he says.
The push to designate “Roadrunner” as the official rock song of Massachusetts began with Joyce Linehan, a Boston publicist who did A&R for Sub Pop Records and now has a record label with Joe Pernice. She has political connections, too: she worked closely with Elizabeth Warren on her successful campaign for the U.S. Senate.
(click here to continue reading Modern Lovers’ ‘Roadrunner’ Proposed as Massachusetts’ Official Rock Song | Music News | Rolling Stone.)
one two three four five six
Going faster miles an hour
Gonna drive past the Stop ‘n’ Shop
With the radio on
I’m in love with Massachusetts
And the neon when it’s cold outside
And the highway when it’s late at night
Got the radio on
I’m like the roadrunner
I’m in love with modern moonlight
128 when it’s dark outside
I’m in love with Massachusetts
I’m in love with the radio on
It helps me from being alone late at night
It helps me from being lonely late at night
I don’t feel so bad now in the car
Don’t feel so alone, got the radio on
Like the roadrunner
Said welcome to the spirit of 1956
Patient in the bushes next to ’57
The highway is your girlfriend as you go by quick
Suburban trees, suburban speed
And it smells like heaven(thunder)
And I say roadrunner once
I’m in love with rock & roll and I’ll be out all night
Going faster miles an hour
Gonna drive to the Stop ‘n’ Shop
With the radio on at night
And me in love with modern moonlight
Me in love with modern rock & roll
Modern girls and modern rock & roll
Don’t feel so alone, got the radio on
Like the roadrunner
O.K., now you sing Modern Lovers
I got the AM
Got the car, got the AM
Got the AM sound, got the
Got the rockin’ modern neon sound
I got the car from Massachusetts, got the
I got the power of Massachusetts when it’s late at night
I got the modern sounds of modern Massachusetts
I’ve got the world, got the turnpike, got the
I’ve got the, got the power of the AM
Got the, late at night, (?), rock & roll late at night
The factories and the auto signs got the power of modern sounds
Right, bye bye!
More reasons to love this song:
Roadrunner is one of the most magical songs in existence. It is a song about what it means to be young, and behind the wheel of an automobile, with the radio on and the night and the highway stretched out before you. It is a paean to the modern world, to the urban landscape, to the Plymouth Roadrunner car, to roadside restaurants, neon lights, suburbia, the highway, the darkness, pine trees and supermarkets. As Greil Marcus put it in his book Lipstick Traces: “Roadrunner was the most obvious song in the world, and the strangest.”
One version of Roadrunner – Roadrunner (Twice) – reached No 11 in the UK charts, but the song’s influence would extend much further. Its first incarnation, Roadrunner (Once), recorded in 1972 and produced by John Cale, but not released until 1976, was described by film director Richard Linklater as “the first punk song”; he placed it on the soundtrack to his film School of Rock. As punk took shape in London, Roadrunner was one of the songs the Sex Pistols covered at their early rehearsals. Another 20 years on and Cornershop would cite it as the inspiration behind their No 1 single Brimful of Asha, and a few years later, Rolling Stone put it at 269 on their list of the 500 greatest songs of all time. Its impact would be felt in other ways, too: musicians playing on this song included keyboard player Jerry Harrison, who would later join Talking Heads, and drummer David Robinson, who went on to join the Cars. Its power was in the simplicity both of its music – a drone of guitar, organ, bass and drums around a simple two-chord structure – and of its message that it’s great to be alive.
(click here to continue reading The car, the radio, the night – and rock’s most thrilling song | Music | The Guardian.)
A conspiracy theory you might enjoy: did Anonymous thwart Turdblossom from subverting democracy? If so, they should get a Congressional Medal of Freedom, or a Nobel Prize, or something. Free beer? Something. Anonymous should also publish their findings so that Karl Rove gets that jail term he so deserves…
Thom Hartmann discusses an article that says the hacker group, Anonymous may have been involved in stopping GOP mastermind Karl Rove from stealing the election in Ohio this year.
The letter itself is currently at Scribd (as PDF), read it yourself
via Crooks and Liars
I’m especially interested in 2004. Remember when all the corporate media people were chiding bloggers, who reported the exit poll info, for leaking inaccurate raw data? What I remember that the exit polls were only off in a few counties. Gee, I wonder why?
The other thing I’ve always wondered is why John Kerry collected donations for his legal fund, swearing he would fight for every last vote — and then didn’t. I guess we’ll never know.
Via Rolling Stone:
Bob Dylan’s 1989 summer European tour wrapped up with a pair of shows in Greece. During an off-day, Dylan and Van Morrison climbed onto the picturesque Hill of the Muses in Athens for a stunning four-song acoustic set that thankfully was captured by cameras for the BBC documentary Arena: One Irish Rover – Van Morrison in Performances. They began with Morrison classics “Crazy Love” and “And It Stoned Me,” but the clear highlight was the 1986 Morrison obscurity “Foreign Window,” featuring Dylan on harmonica and Van on guitar and vocals. They wrapped up the set with a duet on “One Irish Rover.” Check out both songs in this incredible video.
I finally found a use for my long-standing Blogger account – all of my photos from Flickr and Instagram end up there. Thanks to the magic of IFTTT (If this than that, a great service if you have a few different online accounts), every photo that I upload to Flickr, every photo I upload to Instagram, every photo I “like” on Flickr, every photo I “like” on Instagram, every YouTube video I “favorite”, and so on is automatically uploaded into a Blogger post. If you are ever bored, you can browse this page for visual stimulation…
(click here to continue reading Swanksalot’s Solipsism.)
A Sunday night rain storm; my soundtrack was Townes Van Zandt and bottle of decent enough red wine. And the sound of falling water.
and the actual 30 second video, theoretically… (Flash, sorry)
Directed and photographed by Matt Mahurin, and only recently released, as far as I can tell… ((as of right now, only 307 views, despite being linked from TomWaits.com ))Footnotes:
- Wikipedia [↩]
Before Jimmy Page became the quintessential guitar player with mystique, he was a bass player with ambition.
In 1966, Page joined one of the most influential and up-and-coming British bands of his era, the Yardbirds. At only 22 years old, he was already a respected session musician in London – in fact, the blues-leaning rock band had approached him two years earlier to replace then-guitarist Eric Clapton, but Page declined in loyalty to his pal. A year later, when Clapton quit, the group solicited Page again, who in turn recommended another friend, Jeff Beck (because Page was raking in the cash sitting in with Decca Records artists, including the Rolling Stones).
Page finally joined the group in 1966 as a replacement for bassist Paul Samwell-Smith. At his first show with the Yardbirds, at the Marquee Club in London, he played electric bass. The venue was a significant one for the Yardbirds, as they’d held their first residency there in February 1964, and the show celebrated Page’s hard-won presence. Page kept up four-string duties for a bit before switching to twin lead guitar alongside Beck – until Beck left the tumultuous group too, and the Yardbirds became a quartet with Page at lone lead guitar. It was with this lineup that they released their final album, 1967′s Little Games.
All three guitarists of the Yardbirds – Clapton, Page, Beck – would become guitar superstars. However, the Yardbirds proved an especially strong catalyst for Page’s future glory: When singer Keith Relf and drummer Jim McCarty left the quarreling group in 1968, Page rebranded the band as “the New Yardbirds” and recruited vocalist Robert Plant and drummer John Bonham. Bassist John Paul Jones came into the fold soon after – and with him, the one and only lineup of Led Zeppelin was cemented.
(click here to continue reading When Jimmy Page Debuted With the Yardbirds and Steely Dan Broke Up | Rolling Stone Music.)
Reminded me once again that Eric Clapton is an asshole:
The summer of 1976 brought another pivotal event, Eric Clapton’s drunken rant on stage at Birmingham, in which he acclaimed Enoch Powell as the politician who would “stop Britain from becoming a black colony… the black wogs and coons and fucking Jamaicans don’t belong here”. From a man which had topped the US charts with a cover of Marley’s “I Shot the Sheriff”, this was shocking stuff and inspired the formation of Rock Against Racism (RAR).
British reggae swiftly acquired a new militancy and ubiquity. Steel Pulse sang “Ku Klux Klan” with the Klan’s white hoods on their heads. Linton Kwesi Johnson proclaimed it was “Dread Inna Inglan” and warned “get ready for war”. The growing roster of home-grown acts – Misty in Roots, Reggae Regular, Black Slate – found exposure on RAR stages and, after John Peel’s conversion from prog rock, on his Radio 1 show and its live sessions.
Aside from its social commentary, reggae became chic due to its sonic radicalism, with its dub, rap and special disco mixes picked up by rock and soul. “Reggae taught us about space, leaving gaps. It was such a relief after the strictness and minimalism of punk,” says Viv Albertine, guitarist with the Slits, whose 1979 album, Cut, was produced by Dennis Bovell.
In the post-punk era, the Clash, the Members and the Ruts were other rock bands incorporating reggae into their sound, along with the Police, who deftly integrated reggae on hits ‘Message in a Bottle” and “Walking on the Moon”. “We plundered reggae mercilessly,” acknowledges drummer Stewart Copeland on Reggae Britannia.
(click to continue reading Reggae: the sound that revolutionised Britain | Music | Music | The Observer.)
And always a good excuse to play music by Linton Kwesi Johnson, the political, poetical reggae master.
Here’s a transcript of what Eric Clapton said, btw.
Do we have any foreigners in the audience tonight? If so, please put up your hands. Wogs I mean, I’m looking at you. Where are you? I’m sorry but some fucking wog…Arab grabbed my wife’s bum, you know? Surely got to be said, yeah this is what all the fucking foreigners and wogs over here are like, just disgusting, that’s just the truth, yeah. So where are you?
Well wherever you all are, I think you should all just leave. Not just leave the hall, leave our country. You fucking (indecipherable). I don’t want you here, in the room or in my country. Listen to me, man! I think we should vote for Enoch Powell. Enoch’s our man. I think Enoch’s right, I think we should send them all back. Stop Britain from becoming a black colony. Get the foreigners out. Get the wogs out. Get the coons out. Keep Britain white. I used to be into dope, now I’m into racism. It’s much heavier, man.
Fucking wogs, man. Fucking Saudis taking over London. Bastard wogs. Britain is becoming overcrowded and Enoch will stop it and send them all back. The black wogs and coons and Arabs and fucking Jamaicans and fucking (indecipherable) don’t belong here, we don’t want them here. This is England, this is a white country, we don’t want any black wogs and coons living here. We need to make clear to them they are not welcome. England is for white people, man. We are a white country. I don’t want fucking wogs living next to me with their standards.
This is Great Britain, a white country, what is happening to us, for fuck’s sake? We need to vote for Enoch Powell, he’s a great man, speaking truth. Vote for Enoch, he’s our man, he’s on our side, he’ll look after us. I want all of you here to vote for Enoch, support him, he’s on our side. Enoch for Prime Minister! Throw the wogs out! Keep Britain white!
In 1964, Lyndon Johnson needed pants, so he called the Haggar clothing company and asked for some. The call was recorded (like all White House calls at the time), and has since become the stuff of legend. Johnson’s anatomically specific directions to Mr. Haggar are some of the most intimate words we’ve ever heard from the mouth of a President.
We at Put This On took the historic original audio and gave it to animator Tawd Dorenfeld, who created this majestic fantasia of bungholiana.
In “The Soul of A Man,” director Wim Wenders looks at the dramatic tension in the blues between the sacred and the profane by exploring the music and lives of three of his favorite blues artists: Skip James, Blind Willie Johnson and J. B. Lenoir. Part history, part personal pilgrimage, the film tells the story of these lives in music through an extended fictional film sequence (recreations of ’20s and ’30s events – shot in silent-film, hand-crank style), rare archival footage, present-day documentary scenes and covers of their songs by contemporary musicians such as Shemekia Copeland, Alvin Youngblood Hart, Garland Jeffreys, Chris Thomas King, Cassandra Wilson, Nick Cave, Los Lobos, Eagle Eye Cherry, Vernon Reid, James “Blood” Ulmer, Lou Reed, Bonnie Raitt, Marc Ribot, The Jon Spencer Blues Explosion, Lucinda Williams and T-Bone Burnett.
Former Smiths guitarist Johnny Marr tweeted on Thursday that he is planning to write an autobiography. According to Marr, no deal has been made but he has been approached with a serious offer to pen a tell-all about his time in the Smiths.
How’s this for true grit? Famously combative, alcoholic, and drug-addled filmmaker Sam Peckinpah (The Wild Bunch, Straw Dogs) is, as Chevy Chase might joke, “still dead” (he passed away in 1984 at the age of 59) — but that doesn’t mean Bloody Sam can’t make a comeback. Vulture has learned exclusively that producer Al Ruddy (The Godfather, Million Dollar Baby) recently unearthed a script for a Western called The Texans that Peckinpah wrote in 1980 but never got around to making.
Antonio McDyess is the chillest chill bro in the Association. He’s Serge Gainsbourg, stubbled, disheveled, and in love. McDyess is the serpentine rise of smoke from Tom Waits’ cigarette. He’s Chet Baker’s My Funny Valentine—the especially long version that forgets you’re listening. Antonio McDyess is all these things and a Quitman smile.
Orson Welles and I were talking one time about the relative merits of John Ford and Howard Hawks at their best, and finally Welles summed it up: “Hawks is great prose; Ford is poetry.” There haven’t really been very many poets in pictures, but the one pretty much everybody agrees about now is the Frenchman Jean Renoir. He was also Orson’s favorite director—as he is mine—and Ford was so impressed by Renoir’s Grand Illusion (l937) that he wanted to remake it in English. Luckily, studio-head Darryl Zanuck told him to forget it; he would “just fuck it up.”
Amazing tune, really, from an amazing guitarist. Sounds simple, but yet it isn’t.
I’ve studied this song for a long time, and cannot get this phenomenal right hand rhythm string-slapping pattern down. Probably why Bukka White is a guitar god, and I am not.
Bonus: Poor Boy Long Way From Home, lap style.
And since I looked it up, since it is Booker T. Washington White’s hometown:
Aberdeen is a city in Monroe County in the U.S. state of Mississippi. The population was 6,415 at the 2000 census. It is the county seat of Monroe County.Located on the banks of the Tombigbee River, Aberdeen was one of the busiest Mississippi ports of the nineteenth century. Cotton was heavily traded in town, and for a time Aberdeen was Mississippi’s second largest city. Today Aberdeen retains many historic structures from this period, with over 200 buildings on the National Register of Historic Places. In the spring of each year, Aberdeen hosts pilgrimages to its historic antebellum homes. The most prominent of these antebellum homes is The Magnolias, which was built in 1850.
(click to continue reading Aberdeen, Mississippi – Wikipedia, the free encyclopedia.)
One version of the lyrics goes something like this (but not the song above, some is the same, not all):
I was over in Aberdeen
On my way to New Orlean
I was over in Aberdeen
On my way to New Orlean
Them Aberdeen women told me
Will buy my gasoline
Hey, two little women
That I ain’t ever seen
They has two little women
That I ain’t never seen
These two little women
Just from New Orlean
Ooh, sittin’ down in Aberdeen
With New Orlean on my mind
I’m sittin’ down in Aberdeen
With New Orlean on my mind
Well, I believe them Aberdeen women
Gonna make me lose my mind, yeah
(Slide guitar & washboard)
Aber-deen is my home
But the mens don’t want me around
Aberdeen is my home But the men don’t want me around
They know I will take these women
An take them outta town
Listen, you Aberdeen women
You know I ain’t got no dime
Oh-oh listen you women
You know’d I ain’t got no dime
They been had the po’ boy
All up and down.
As a follow up to conservative Brietbart and his nearly amusing dustup regarding Shirley Sherrod, I give you Andrew Breitbart and his undeniable and deep love for terrorist organizations like Al Qaeda and Fox News:
Nearly amusing because while the whole thing was such a farce, Ms. Sherrod’s life was disrupted in an unpleasant manner, and that isn’t funny.
For your depressing news of the day, take a look at this animated simulation of possible oil spill dispersal. Frack me!
This animation shows one scenario of how oil released at the location of the Deepwater Horizon disaster on April 20 in the Gulf of Mexico may move in the upper 65 feet of the ocean. This is not a forecast, but rather, it illustrates a likely dispersal pathway of the oil for roughly four months following the spill. It assumes oil spilling continuously from April 20 to June 20. The colors represent a dilution factor ranging from red (most concentrated) to beige (most diluted). The dilution factor does not attempt to estimate the actual barrels of oil at any spot; rather, it depicts how much of the total oil from the source that will be carried elsewhere by ocean currents.
For example, areas showing a dilution factor of 0.01 would have one-hundredth the concentration of oil present at the spill site. The animation is based on a computer model simulation, using a virtual dye, that assumes weather and current conditions similar to those that occur in a typical year. It is one of a set of six scenarios released today that simulate possible pathways the oil might take under a variety of oceanic conditions. Each of the six scenarios shows the same overall movement of oil through the Gulf to the Atlantic and up the East Coast. However, the timing and fine-scale details differ, depending on the details of the ocean currents in the Gulf. (Visualization by Tim Scheitlin and Mary Haley, NCAR; based on model simulations.)
(click to continue reading Oil Spill Animations | UCAR.)
Marv Albert interviewed President Barack Obama on the White House basketball court, including about the Arizona immigration law, and Los Suns:
Obama on sports figures and organization getting involved in political issues, such as the Phoenix Suns taking a stand against the Arizona immigration law: “I think that just because somebody’s a sports figure or you’ve got a sports team doesn’t mean that you’re not part of the community and you’re not part of our democracy. I think it’s terrific that the Suns, who obviously feel very strongly about their community, recognize that a big part of their community felt threatened by this new law. You know, when I was growing up, you had figures like Arthur Ashe and Bill Russell who routinely would talk about the world around them. You wouldn’t always agree with them, but that sense that people are engaged in the big issues of the day, I think, is a positive thing. I don’t think that either players or franchises need to always steer away from controversy. I happen to personally think that the Arizona Law is a bad idea, I’ve said so publically, and I see no reason why these guys can’t make the same statement.”
Obama on if he played against differently since becoming the President: “Well, it is true I usually have guys with guns around, so if somebody takes a real hard foul, they could get in trouble. Nobody ever lets me win because if you let me win, you’ll never hear the end of it. I’ll talk a little trash about you. I’ll make you feel bad about yourself if we beat you real bad.”
Obama on his improved bowling: “My bowling has greatly improved. So Marv, you’re touching on a slightly sensitive point. I’m not going to walk off the set here, but we do have a bowling alley here at the White House and I’ve gotten a lot better.”
(click to continue reading NBA.com: Notes from TNT’s exclusive interview with President Obama.)
The entire interview (Flash), uncut: