Alle indlæg af Jens

New music night and day

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Var i en diskussion om positivt arbejdsraseri forleden og David Bowie blev hevet frem som eksemplet på at kreativitet og voldsomt output godt – når talentet er der – kan forenes. Se på Bowie’s 1977, hvor han netop var flyttet til Berlin, vistnok hovedsageligt for at undslippe et ødelæggende coke-misbrug, hans amerikanske tilværelse ikke kunne være foruden. Så hvad gjorde David for at blive nyt menneske? Kastede sig hovedkuls ind i en Berlinmur af kreativitet og hårdt arbejde. Dels som soloartist med Tony Visconti og Brian Eno som sparringspartnere, dels med vennen Iggy Pop, der var flygtet med til Vestberlin og som med Bowie i både komponist- og producer-rolle også der selv skabte sig en helt nyt udtryk og niveau. Prøv lige ikke at tabe pusten af deres fælles release-kalender mens i Berlin:

14. januar: David Bowie – Low
18. marts: Iggy Pop – The Idiot
9. september: Iggy Pop – Lust For Life
14. oktober: David Bowie – “Heroes”


Eller tag hele Bowie’s gyldne tiår, omkring 70’erne, og se hvad han overkom:

1969, 04. november: Space Oddity
1970, 04. november: The Man Who Sold the World
1971, 17. december: Hunky Dory
1972, 06. juni The Rise and Fall of Ziggy Stardust and the Spiders from Mars
1973, 13. april: Aladdin Sane
1973, 19. oktober: Pin Ups
1974, 24. april: Diamond Dogs
1975, 07. marts: Young Americans
1976, 23. januar: Station to Station
1977, 14. januar: Low
1977, 14. oktober: “Heroes”
1979, 18 maj, 1979: Lodger
1980, 12 september: Scary Monsters (and Super Creeps)

I samme periode nåede han så også at indspille og udgive to dbl-livealbums: David Live, udsendt 29 oktober 1974, og Stage, udsendt 8. september 1978.

Bowie’s tempo var regel sanrere end undtagelse for den tids artister. Roxy Music, Lou Reed, Sparks, T Rex og også de tidlige store bands efter punkbølgen kørte i samme høje gear. Udgivelsestempoet havde den fordel/ulempe, at det hurtigt eksponerede hvem der havde noget og hvem der ikke kunne være med. Et band kunne ikke – som f.eks. i dag – gemme sig væk i et studie i flere år og derefter udsende et værk så overproduceret, at dets egentlige substans eller mangel på selvsamme blafrer i vinden. Gad vide hvad nutidens acts ville komme op med med et sådanne tidspres på sig. Ville det f.eks gøre Kashmir ondt, at der ikke gik op til 4 år imellem deres albums? Ville R.E.M.’s output blive mindre vitalt af kun – ligesom i gruppens gyldne år – at være halvt så lang tid som nu undervejs i skriveproces og studio? Og ville verdensfreden blive yderligere truet af Bono’s fravær på den internationale politiske scene, fordi han oftere var krævet af sit band i et studie til det, han egentlig først og fremmest fik sin berømmelse på? Jeg tror det ikke.

Men det er ønsketænkning. Musikindustriens egen cyklus bryder sig ikke om for hyppige og for hurtige udgivelser. Den måde man gør tingene på nu kræver en langtidsforberedelse indenfor promotion/marketing, som handler om år ikke måneder. Det er vel også derfor vi – i modsætning til tidligere – så sjældent har glæden af enkeltstående singler eller EP’er, som ikke er ude for at tjene et helt albums sag. Den tankegang og forudsigelighed der ligger bag dette har gjort både musikbranchen og de plader den udsender ikke så lidt kedeligere. Hvis en David Bowie i dag var flyttet et år til Berlin, havde han kun fået lov at udsende ét enkelt album derfra og det ikke før l-a-n-g tid efter indspilningerne til det var afsluttet. For jo, der tales meget om at teknologien har gjort verden mindre, men dens musikmedier og deres funktioner har samtidig i den grad forlænget forædlingsprocessen og ventetiden før de nye plader endelig sendes ud. Ikke godt. For ny musik – nat og dag – bør altså høres…NU!

PS – New Music Night And Day var til sidste øjeblik arbejdstitlen på det album, som istedet blev udsendt under den noget mere anonyme titel Low.

Go! Revisited

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Godt nyt til Love Shop-folket: D. 28. maj er det præcis 10 år siden Love Shop udsendte Go!. Det fejrer SonyBMG med på dagen at genudgive alles LS-favoritalbum i en 2cd-luksusudgave på selskabets nye og ambitiøse Rewind-label, der arbejder med de fornemme, internationale Legacy Edition-udgivelser som forbillede. Første cd i den nye Go!-indpakning vil indeholde det originale album, den anden, som mest er for sande LS-tilhængere og/eller rock-arkæologer, vil gå bag om pladen og præsentere Go!-samtidige sjældenheder, uudgivne tracks, demoer og liveoptagelser.

When saturday comes

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Så er det alvor i toppen af Premier League: Weekenden byder på to topmøder, hvis resultater vil kunne betyde meget for sæsonens endelige udfald for de implicerede klubber. På Anfield tager Liverpool lørdag middag imod Chelsea, der skal og må vinde for at holde trit med Manchester United på førstepladsen. Liverpool har på det seneste i Premier League endelig vist stor stabilitet og styrke, men forrige uges to fæle cup-nederlag – 1-3 og 3-6 – hjemme mod Arsenal gør stadigvæk så ondt, at alt andet end en sejr lørdag vil sprede stor disillusion. Chelsea har uden samlingspunktet John Terry haft en omtumlet jule-periode med et shaky forsvar, uro omkring både Shevchenko og træner Mourinho, og simpelthen for mange mistede “lette” points. Chelsea vil håbe, at Liverpools tendens med underpræstering mod de andre tophold fortsætter lørdag. Det bør blive et brag af en kamp, med alt hvad der er på spil af indbyrdes had, prestige, nervøsitet og ambitioner.

Søndag er Man United nede i London, hvor Arsenal venter. Sidstnævnte synes inde i sin bedste periode i lang tid, men en så ultra-svær kamp som denne, er nok alligevel ikke hvad man har brug for lige nu, med vigtige Gallas skadet og Henry først netop tilbage i opstart efter skadespause. Skulle Chelsea tabe lørdag vil en sejr til United være lig med et forspring på 9 points. Omvendt vil en eventuel sejr til Chelsea og ditto nederlag til Manchester bringe afstanden mellem de to ned på sølle 3. Men det er kun den matematik, der vil blive glemt så snart bolden ruller.

Liverpool-Chelsea, lørdag, kl. 13.45 på Kanal 5
Arsenal-Manchester United, søndag kl. 17.00 på Canal+sport

Nyt fra studioland

Midt i et par fridage fra studiet, hvor vi længe har arbejdet på fuld tryk. Jeg har ikke skrevet meget her på siden, hverken om de nye sange eller den proces vi er igang med. Det er nok ikke helt fair, så her lidt lys på ovenfra:

Bandet består af Rune Kjeldsen, Jesper Lind, Nicolai Munch-Hansen og Mikkel Damgaard. Producer og medspiller er – ligesom på Vejen Hjem Fra Rocknroll – Nikolaj Nørlund. Vi har indspillet i Göteborg og her i København, hvor vi pt. er ved at klargøre til mix, dvs. rydde op på spor og optage de sidste ting sangene mangler. Selve mix-processen vil foregå snart i Stockholm, London og København.

Og sangene – dem er der ikke så få af. Har aldrig før indspillet så mange til et enkelt album. Ved ikke om hver og en ender med at komme på, men det er under alle omstændigheder en iorden følelse ikke at være i underskud med materiale.

Flere har spurgt, om det kommende album kommer til at lyde som Vejen Hjem Fra Rocknroll. Well, jo, nej, det synes jeg i store træk ikke. For det første er numrene indbyrdes mere forskelligartede end sidst. Og hvor Rocknroll havde en ret ens naturlig tilgang og lyd hele vejen igennem, er der i det nye materiale meget der peger i andre og anderledes retninger. Der er flere synths og keyboards på, og jeg hører generelt bandet har en anden lyd, et anderledes mørkt skær, end sidst i Berlin, hvor vi alle fløj afsted på debut-indspilningens glimrende ubekymrethed.

Så sangene har en dybere farve, men – don’t worry – det selvfølgelig stadigvæk indenfor rammer af såkaldt normal sangstruktur med vers-chorus. Det bliver en super plade, er jeg sikker på. Ved endnu ikke med udgivelsesdato, men vi håber at have første single klar til radioairplay inden for en 3-4 uger. Mere info følger…

Kongeslottet brænder

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D. 22. januar udkommer debut-albummet med The Good The Bad & The Queen, bandet der bl.a. består af Blur’s Daman Albarn og The Clash-bassisten Paul Simonon. Dog ingen grund til at vente så længe – hele albummet kan allerede nu streames inde på TGTB&TQ’s egen MySpace-side.

http://www.myspace.com/thegoodthebadandthequeen

Bigmouth strikes again

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“People don’t realize what they had till it’s gone. Like President Kennedy – nobody like him. Like The Beatles, there will never be anything like them. Like my man, Elvis Presley – I was the Elvis of boxing.”


Muhammed Ali har fødselsdag i dag. Uden hans ekstremt uhm…selvsikre og mesterboksende tilstedeværelse havde TV-alderen været ikke så lidt kedeligere at gå igennem. Tror vi må være en del, der husker Rumble In The Jungle-dysten i Zaire, den mod George Foreman, som et absolut 70’er-sports-melodrama, helt på suspensehøjde med fodbold-VM-finalerne i München og Buenos Aires, samt Liverpool’s første Champions League-triumf, mod Allan Simonsens Borussia Mönchengladbach i 1977. Tillykke med dagen, Champ!

1 stk. movieklip

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Mens rockworld stadig ligger sæsonstille, må vi have øje for andre ting. For to uger siden anbefalede vi her engelske Amy Winehouse via dén Rehab-single fra hendes nye, så skarpe rocknsoul-album Back In Black, og der er mere lys fra samme verdenshjørne: London-RnB-sangerinden Jamelia har på sin nye single Beware Of The Dog lånt selveste Nephew’s Movieklip og får faktisk et forrygende uptempo-hit ud af det. Overraskende – som nu især med anderledes personlige og udfordrende Winehouse – hvad der kan ske, når repræsentanter for RnB-karavanen forlader genrens sterile indelukke og kører ind i rocknrollland. Kopiér, paste, hør og se selv her:

Ikke hvilkensomhelst station

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For at overbevise skeptikere – måske selv Pastoren – om, at David Bowie ikke udelukkende var et frådende apotek, da han lavede sin Station To Station, bringes her teksten til dens Word On A Wing, der både i ord og musik er en af de reneste og mest velartikulerede kærlighedssange, man kan forestille sig. Muligvis vores helt ikke havde klaret en dopingtest under tilblivelsen, men mig, jeg synes det er underordnet. Hvis al kunst – jo, Station To Station kan holde til netop det prædikat – der er lavet på illegale substanser skulle diskvalificeres, ville verden blive berøvet ikke så få mesterværker. Station To Station er albummet, hvor Bowie først stillede ind på det Europa, han snart skulle finde og forløse under sit kommende ophold i Berlin. Det høres i den vægtløse udgave af Nina Simone’s Wild Is The Wind, en version der siden dannede blueprint for Suede’s Europe Is Our Playground, og endnu mere i det sofistikerede titelnummer, hvor en forslået men søgende romantisk vision, samt et mærkbart musikalsk input af tyske Kraftwerk/Can, i David Bowie’s hænder bliver til stor, komplet musik. Sjældent har nogen coke-psykose lydt SÅ inspireret.

WORD ON A WING

In this age of grand illusion you walked into my life out of my dreams
I dont need another change, still you forced away into my scheme of things
You say were growing, growing heart and soul
In this age of grand illusion you walked into my life out of my dreams
Sweet name, youre born once again for me
Sweet name, youre born once again for me
Oh sweet name, I call you again, youre born once again for me
Just because I believe dont mean I dont think as well
Dont have to question everything in heaven or hell

Lord, I kneel and offer you my word on a wing
And Im trying hard to fit among your scheme of things
Its safer than a strange land, but I still care for myself
And I dont stand in my own light
Lord, lord, my prayer flies like a word on a wing
My prayer flies like a word on a wing
Does my prayer fit in with your scheme of things?

In this age of grand illusion you walked into my life out of my dreams
Sweet name, youre born once again for me
Just as long as I can see, Ill never stop this vision flowing
I look twice and youre still flowing
Just as long as I can walk
Ill walk beside you, Im alive in you
Sweet name, youre born once again for me
And Im ready to shape the scheme of things

Ooh, ready to shape the scheme of things
Ooh, ready to shape the scheme of things
Ooh, ready to shape the scheme of things
Ooh, ready to shape the scheme of things
Ooh, ready to shape the scheme of things
Ooh…

Lord, I kneel and offer you my word on a wing
And Im trying hard to fit among your scheme of things
Its safer than a strange land, but I still care for myself
And I dont stand in my own light
Lord, lord, my prayer flies like a word on a wing
And Im trying hard to fit among your scheme of things
Its safer than a strange land, but I still care for myself
And I dont stand in my own light
Lord, lord, my prayer flies like a word on a wing
My prayer flies like a word on a wing
Does my prayer fit in with your scheme of things?

© David Bowie

Berlin-3 + 2

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Et meget fint dansk program, om David Bowie’s tid i Berlin og hans trilogi derfra, i går aftes på DR2. Men midt i al den lovprisende snak om Low, Heroes og Lodger skal ikke underkendes betydningen af Iggy Pop’s The Idiot og Lust For Life, der også begge blev til i 1977 i Die Mauerstadt, selvfølgelig under Bowie’s blomstrende supervision. Fremragende albums begge to, som på ingen måder står tilbage for hans egne. Hvor ville Iggy Pop have været i vores bevidsthed, uden lige de to under bæltet!?

Golden years

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Vi blev forslået en top 5 over David Bowie’s post-Let’s Dance-karriere, men den ørkenvandring er svær at finde lyst til. Men da der tales personlige lister, så lad os istedet tage et par stykker, der drejer sig om den direkte grund til, vi fejrer manden, hans musik og betydning. Alle bud er velkomne!

Top 5-Bowie-albums:
1. Diamond Dogs
2. Ziggy Stardust
3. Scary Monsters
4. Aladdin Sane
5. Station To Station

Top-5-Bowie-singles:
1. Helden (Heroes’ original-versionen på tysk)
2. Rebel Rebel (fra Diamond Dogs)
3. Boys Keep Swinging (fra Lodger)
4. Ashes To Ashes (fra Scary Monsters)
5. Young Americans (fra Young Americans)

Top-5-Bowie-album-tracks:
1. We Are The Dead (fra Diamond Dogs)
2. Station To Station (fra Station To Station)
3. Sweet Thing (fra Diamond Dogs)
4. Wild Is The Wind (fra Station To Station)
5. Fascination (fra Young Americans)

Top-5-Bowie-sange-jeg-simpelthen-også-er-tvunget-til-at-nævne:
1. The London Boys (single-B-side)
2. Because You’re Young (fra Scary Monsters)
3. Velvet Goldmine (single-B-side)
4. Moonage Daydream (fra Ziggy Stardust)
5. Drive-In Saturday (fra Aladdin Sane)

Patti Smith om David Bowie

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I anledning af Bowie’s runde fødselsdag i dag – se Pastorens indlæg nedenfor – bringes her et tidslomme-fint skriv om ham, som Patti Smith begik i 1978 for musikbladet Hit Parader – enjoy!

Hit Parader, April 1978

HEROES:
A COMMUNIQUE
By Patti Smith

….I had the fortunes with me. 10/20. Rimbaud”s birthday. I was in Koln. So were the several young and lusty terrorists. The tone of the country was meditative, metallic. West germany had an extreme distaste for overt military tactics. Murder. Hi jack. The need for counter militia was an embarrassment for the new middle class as well as detrimental to the tourist trade.

….The customs official found my sunglasses offensive. Italian bodyguard shades. Lying on the table with my keys and tools they seemed to take on the flesh of a dangerous drug. I refused to part with them and soon hit the streets with an armed escort. There was no one around save servicemen and teenagers. I arrived at galerie Veith Turske late greasy and mean.

….One of the boys followed us. His name was Dominique. He sat across from me in the music room. I imagined cradling him. Picking him up and drawing him in. He had all the motion of a twelve year old girl. The perverse sensuality of innocence.

….Another boy came in. he was older and very cute. Maybe around 22 and very eager. He had an offering in a wax bag. He said it was the new Bowie album. I was very happy. I was nervous and alien in this town and the record was a connection. It was also his contribution toward the raising of souls in this domestic domain.

….I asked Dominique to display the drugs. He unrolled what he had from a piece of grey felt lined in smooth rubber tubing. It was green devil and very sticky. He divided the drug. I was given twice as much. I took this as a token of respect and did not protest. Veith came in with hash and alcohol. He also brought an exotic dessert composed of the foam of various liquors whipped with egg yolk. Boy-2 put side one on. I had difficulty focusing. Being among others I was unable to relax and submit into a groove of total aural adventure. It was also impossible to glitter and obliterate before a trio of languorous young men.

….I was expecting a thrill though. Since Young Americans I have been a quiet yet ecstatic fan. Station To Station inspired Radio Ethiopia. Message units are sprayed liberally between the buds of poppies. When Low hit I was in a period of disgrace. Of total immobility. Low. The fall and potential rising of Thomas Jerome Newton. The soundtrack of Bowie’s escape into film. A backdrop for months of head-motion. Low provided a state of connective id- mutual non-action. Of dream and beyond into creation. A stiff neck person can indeed inter/enter the wrath of the creator. and so I was remembering. I was sliding into the dark backward. Revisiting all the carnal landscapes of the bruised interior.

….The boys were discussing Bowie’s pronunciations. In Koln Heroes is sung in sectioned german. I asked them what they thought of Bowie’s interpretation. They said it was not rock n roll. It was cabaret. Behind my shades I can imagine him. There in Berlin. In the abandoned section. I imagine him stumbling through old boxes and props in the street. I imagine him in love with the whole world or totally dead. I imagine the last show of Thomas Jerome Newton escaping into life.we are interrupted by a profile. Bowie- the- neo- somnambulist enters the atelier of hugo ball. He is the angels of Kadinsky. He is the incredibly spiritual phony. A member of the most expiring racean actor. Specifically designed for the silent screen. One w/the conceit and innocence of the true silent actor.

….In Sons Of The Silent Age he is the metropolis valentino- very mythic very manic and very misunderstood. Harmonious gossip resounds. Everyone is murmuring German. I get some kind of anger/anguish out of Blackout. Dehumanised speed of the Japanese laborer. We can’t compete we just get wiped out. I think of my mom losing her job in a factory cause the Japs do it faster. I think of transistor you can get for only seven dollars that really works made in Japan.

….His new work is not immediately accessible but neither was exile on main street. Beauty And The Beast is a shock that is eventually absorbed into shining acceptance. Joe The Lion is startling too and stretched out by some great guitar. It takes some time to get under the skin.

….Records sound different in Europe. I think the turntables are faster. Theres more treble. I couldn’t enter into V-2 Schneider the way I wanted to. Not til much later when I came home. I got off the plane and went downtown and brought the record. I wanted to keep the feel of being in transit. New york- Koln. I don’t usually buy a record unless I’m in love (stones) or in a state of hot suspense (idiot).

….I listened to the record for 72 hours. Day and night. Watching tv and in my sleep. Like Station To Station and Low, Heroes is a cryptic product of a high order of intelligence. Committed to survival. The rythum tracks are intel-disco. Lysis-discos. the disintegration of brain into lingua into pulse of rythum. High east coast wherein all the musician play w/grace and taste. The title song is wonderful. It exposes us to our most precious and private dilemma. He has captured in this song that desperate moment when one will die for love. The track is pure. I am waiting for my man. But I love the song too and what we love we love repeated. The lyrics are really beautiful. One falls in love and gets lost in its swirl. One projects far aware and across the boundaries of space and placement. We are in dream alive. we are not planets away but seperated by a room or a wall of wire. Thats all. Heroes is theme song for every great movie. Made remade or yet to come. We the living. We are the girl in a torn wedding dress escaping thru wire into the crown of a bullet. We are the soldier blowing kisses from the back of a train.We are drunk and raging and kneeling in/time in a dead hotel room. We are the heroes of rimbaud’s poem royalty. 2 people mystically colliding.

….En effet ils furent rois toute une matinee morning in koln, side 2 is still on. Sometimes we are the victim of the senseless anxiety accompanied with Sense Of Doubt. The man desires the immediacy of sense in/life. He stalks the stars like alien candles. Birthday scars and scars of truth and immortal love. Man desires to drift shamelessly into the realm of beauty. In the garden the birds chirp. The garden imprisons an egg which encases the breath of a quivering question. The question mark becomes the curve of a saxophone. Bowie is going to bend and pucker and blow like the pusher (pierre clemente) of steppenwolf. Instinctive as to beauty down and thru a cellar of noise into a relaxed system of notes and merge with the actor he truly is. The boys of koln cut out. The younger stayed longer. He had passion for MC5. He was going to quit school and play guitar all day. Secret life came on. I was packing for america. He was telling me how it felt when he plugged in and connected with his weapon. He was saying a lot of stuff and I was thinking about Heroes. Find them where they’re sleeping. Know them where they lie. Deep in another system. Deep in the heart and motor of the most despised cities in the world.

© Patti Smith

My boy

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Først cyklede han Memphis og skrev autografer, siden kørte han mest i limo og drak sodapop. Her nedenunder står ordene fra hans egen fortælling om sorte biler, ambition og for tidlig død, fra det perfekte 1969-comeback-album From Elvis In Memphis. Det er hans fødselsdag nummer 72 i dag. Tillykke Elvis!

LONG BLACK LIMOUSINE

There’s a long line of mourners
Driving down our little street
Their fancy cars are such a sight to see, oh yeah
They’re all rich friends who knew you in the scene
And now they’ve finally brought you
Brought you home to me

When you left you know you told me
That some day you’d be returnin’
In a fancy car, all the town to see, oh yeah
Well now everyone is watching you
You finally had your dream, yeah
You’re ridin’ in a long black limousine

You know the papers told of how you lost your life, oh yeah
The party, the party and the fatal crash that night
Well the race along the highway, oh the curve you didn’t see
When you’re riding in that long black limousine

Through tear filled eyes I watch as you pass by, oh yeah
A chauffeur, a chauffeur at the wheel dressed up so fine
Well I never, I never, never, never
Oh my heart, all my dreams yeah, they’re with you
In that long black limousine

Yeah, yeah, they’re with you in that long black limousine
Yeah, yeah, they’re with you in that long black limousine

© Vern Stovall/Bobby George

El skudt i 1968 med ung fan ved NBC Studios.

Ingen synger blues som Jeffrey Lee

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Faldt over en hvidglødende 1982-liveoptagelse med amerikanske The Gun Club, bandet der havde Jeffrey Lee Pierce som desperat frontfigur. Med deres helt egen geografiske blanding af westcoast-punk, dryppende sydstats-gloom og blues-riffs fra en nedre verden viste The Gun Club i starten af 80’erne vejen for ikke så få andre nye bands. Her i DK blev The Gun Club således krediteret som hovedinspirationskilde for den ko-punk, som DAD startede ud med, men det er at give sidstnævnte band mere credibility end dets ultrakonservative og overfladiske vaudeville-show fortjener. The Gun Club’s kreative flamme brændte hurtigt ud, sikkert som følge af Jeffrey Lee’s seriøse drugabuse, men over 3 plader – debuten Fire Of Love, Miami (+ Death Party-EP’en) og The Las Vegas Show – lykkkedes det at forløse personlig intensitet i en sangskrivning af høj, høj klasse. Jeffrey Lee Pierce, der bizart nok omkring 1980 var formand for Blondie’s amerikanske fan-club, døde i 1996, kun 38 år gammel. Da eksisterede The Gun Club stadig, men kun som en skygge af sit eget tidligere format. På billedet ovenfor ses Jeffrey Lee sammen med Kid Congo Powers, ace-guitaristen der udover Gun Club også har spillet med The Cramps og Nick Cave. Men det er en helt anden historie…

SEX BEAT

Johnny’s got a light in his eyes and Shirley’s got a light on her lips
Jakes got a monkeyshine on his head and Debra Ann’s got a tiger in her hips
They can twist and turn they can move and burn
They can throw themselves against the wall
But they creep for what they need
And they explode to the call and then they move
Move
Sex beat, go

They’re stupid like I told ya, very stupid like ya saw
Very stupid as the simple thought of ever thinking at all
And all their mind, all their souls all their bodies all we know
All we know all the things that should a made us whole
All the colourless security was all that someone could go and move, move
Sex beat, drop

And yes you do look cool and by the floodlights so blue
You make my tropical apartment bed, your sacrificial pool
My body in the water and my heart is in your hand
So this is the way you choose to send me to the judgement land
So you can’t move, move oohh..sex beat, go

And every day I agree you throw me down by the christmas tree
I watched your lights blink on and off while you start your fun with me
I, I know your reasons and I, I know your goals
We can fuck forever but you will never get my soul
Just so you can move
So you can move
So you can move
So you can move so you can
Oohh…sex beat

© Jeffrey Lee-Pierce