Alle indlæg af Jens

Opløftende sange om undergang


Denne er ikke udgivet endnu men findes allerede på nettet og er noget af det mest spektakulære længe hørt. Pastoren omtalte den forleden og kaldte den “underligt triumferende”. Vi taler naturligvis om sangen Intervention, en af hjørnestenene på Neon Bible, Arcade Fire’s nye album. En moderne salme af elendighed, hvis kulsorte scenarie løftes højt op på en musikalsk himmel af brusende kirkeorgel, klokker og et uskyldsrent børnekor. Hvis mennesket fortjener sin egen og hele verdens kollektive undergang, synger Arcade Fire den her ud som storslået forløsning snarere end som straf. Arkiver under “a” for anderledes ateistisk samt absolut apokalyptisk.

INTERVENTION

The king’s taken back the thrown
The useless seed is sown
And when they say they’re cutting off the phone
I’ll tell ’em you’re not home

No place to hide
You’ll be fighting as a soldier on their side
You’re still a soldier in your mind
But nothing’s on the line

You say it’s money that we need
As if we’re only mouths to feed
And knowing no matter what you say
There are some debts you’ll never pay

Working for the church while your family dies
You take what they give you and you keep it inside
Every spark of friendship and love will die without a home
Hear the soldier groan or go at it alone

I can taste the fear
Lift me up and take me out of here
Don’t want to fight, don’t want to die
Just want to hear you cry

Who’s gonna throw the very first stone
Oh, who’s gonna re-set the bone
Walking with your head in a sling
Wanna hear the soldier sing

Working for the church while my family dies
Your little baby sister’s gonna lose her mind
Every spark of friendship and love will die without a home
Hear the soldier groan or go at it alone

I can taste your fear
It’s gonna lift you up and take you out of here
And the bone shall never heal
I cannot if you kneel

We can’t find you now
But they’re gonna get their money back somehow
And when you finally disappear
We’ll just say that you were never here

Been working for the church while your life falls apart
Been singing hallelujah with the fear in your heart
Every spark of friendship and love will die without a home
Hear the soldier groan or go at it alone
Hear the soldier groan or go at it alone

© Arcade Fire

Happy birthday, Grant

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BOUNDARY RIDER

There’s a boundary rider
at the five mile fence
bloodwood, bones + steers

And the sky’s so deep
you can’t find your sleep
keeps you walking through these tears

So you reach for things
you’re never satisfied
you’re running down the years

And to know yourself
is to be yourself
keeps you walking through these tears

Some days you ride it hard
to stop them getting out
then comes the day you ride
to stop them getting in

There’s a boundary rider
on the five mile fence
bloodwood, bones + steers

And to know yourself
is to be yourself
keeps you walking through these tears

© Grant McLennan/The Go-Betweens

Spredt men høj torden

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Clap Your Hands Say Yeah er allerede nu ude med sophomore-pladen, der skal leve op til debutens anmelderroste rodebutik af ubesværet opfindsomhed og anderledes fingeraftryk. På Some Loud Thunder inviteres atter ind i den skitsernes labyrint, som er hjemstedet for CYHSY’s færdigindspillede sange. Meget dér er uforløst, men intet heldigvis uden mening. For bag selv de længste rækker af svimlende ens akkorder og afhakkede rytmer kommer forløsning og fyldestgørelse. Nogle gange ved en lille tonal ændring i den musikalske opbygning/nedbrydning, andre gange i de små nuancer i Alec Ounsworths gutterale husmorsvømning. Og undskyld vi kalder hans sang for dét, som ikke er negativt ment. Hver fugl synger med sit næb og lyden af Ounsworths er en af de mere opsigtsvækkende i ny musik. På trods af kraftige klangmindelser om David Byrne (Talking Heads) og Gordon Gano (Violent Femmes) er Ounsworth helt sin egen, uden megen hensyntagen til begrænsende konventioner som tonalitet og gammeldags vokale skønhedsbegreber. Den lyd og tilgang er på Some Loud Thunder med til at skabe en lille som stor musik, der, udstyret med en imponerende mangel på ordenssans, trækker langt, langt væk fra tidens og hverdagens strømlinede rationalitet. Hen et fremmed sted, hvor op godt må være ned, hvor selv mørke er ladet med lys, og hvor disse frihedselskende sange næsten spiller og synger sig selv. Føles som vi har brug for det.

PS – Kommer der mon andre plader i år end Some Loud Thunder, hvor så forskellige konkrete størrelser som Satan og stedet Jamaica besynges? Yep, en ialfald. Den hedder Aftenland Express og har en hel del med denne side at gøre…

Forget me not

Intet er mere absurd end at dø i en trafikulykke, udtalte Albert Camus nogle år inden han besynderligt nok i 1960 selv endte sit liv i en forulykkende bil. Og muligvis er hans påstand rigtig, men en – på et meget mindre plan – næsten ligeså absurd ting er det, at bruge kostbar tid på den slags venskabslandskampe, som denne uge har præget den europæiske fodbold. Et er at kvaliteteten af de efterhånden alt for mange regulære kval-kampe til EM/VM, gennem inklusion af de talrige nye fodboldforbund fra øst, er faldet mærkbart. Noget andet er det, at man alligevel stadig tager tid væk fra de klubturneringer, de fleste af os ånder for, med en parade af halvhjertede træningskampe, som ingen udover de nationale fodboldforbund synes at have hverken tid, lyst eller overskud til. Selv havde vi sådan en tirsdag aften mod Australien i Shepherds Bush, hvor begivenhedens manglende betydning lyste ud af TV. Og i går var det Englands tur mod Spanien i en tilfældig og rodet affære, der næsten nåede at se flere spillere på banen, end der var tilskuere på stadion i Manchester. Et andet sted langt derfra dystede San Marino samtidig mod Irland, der vandt på et mål i fem minutters overtid. Det lyder jo af noget med sådan en sidsteøjebliksafgørelse, som ellers kun er håndboldens besynderlige verden forundt, men at dømme efter nedenstående anonyme tilskuerreferat, var heller ikke den oplevelse tilnærmelsesvis værd at huske:

The teams walk out – not of a tunnel but from under some trees,
They are not that big – they`d only reach Big Niall Quinns Knees.
In the teamtalk O`Shea seems confused by his role,
He wants the keepers jersey – he wants to play in goal.

Into the second half and all is level,
With the San Marino players tackling like Philip Neville.
The ref doesn`t seem to care – as the tackle fly in,
As Harte fluffs a free – God I miss Denis Irwin.

Humpty Dumpty sat on a wall eating his curds and way,
As humpty pondered – pondering thoughts – he thought “I`ll play the Irish way”,
I`ll kick and i`ll run and i`ll avoid the big goal,
That way my manager will appear on the dole.

Scouse cowboys

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Nyheden om at Liverpool FC, ens (=min) fodboldklub og tæt på essensen af alt hvad man (=jeg) holder af omkring England, er blevet opkøbt af to hovedrige amerikanske forretningsmænd, hvoraf den ene, en texaner, endda har gjort sig bemærket ved sin økonomiske støtte til George W. Bush’s to præsidentkampagner, er ikke nem at komme overens med. Pengene de to kommer med er mere end nødvendige, hvis Liverpool som klub skal gøre sig håb om en tilværelse i fodboldens absolutte top, hvor den på baggrund af sin uforlignelige historie naturligvis ser sig selv hjemme. Men kulturen og traditionerne omkring Liverpool FC – hvad med dem? Ved overtagelses-pressemødet i går, havde de nye ejere – George Gillett Jnr. og Tom Hicks – travlt med at pointere hvor opmærksomme de er på hvad Liverpools tilhængere ønsker sig. Men samtidig lagde man ikke skjul på, at f.eks. navnet til Stanley Park, det kommende store LFC-stadion, er til salg, hvis prisen udefra er den rigtige. Så måske venter en McDonalds Park, en Adidas Arena, et Disneyworld Stadium forude som hjemmebane for Liverpool, hvilket – set herfra – vil være alt andet end optimalt. Det vil være at pisse på hvad klubben er og bør være, og mon ikke de nye amerikanere trods alt ved netop det? Et forretningstalent så stort som deres handler vel også om en præcis afvejning af, hvordan de i et tilfælde som Liverpools ikke punkterer en enorm fanbases entusiasme, ved selvskabt devaluering af det pletfri klub-brand, de netop har betalt så rasende dyrt for. Der er en spændende tid med meget på spil forude for alle der ånder Liverpool. I den forbindelse er det vigtigt at huske én ting: USA er ikke en forbandelse – det er bare et land…

Så er det officielt: # 1 er nummer et

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Så lykkedes det endelig: I tredje forsøg i træk blev vores guitar-ace Rune Kjeldsen i går aftes ved Steppeulvs-prisuddelingen i Vega – i konkurrence med bl.a. Henrik Hall og Anders Trendymøller – kåret af de danske musikkritikere som “årets musiker” – stort tillykke, #1!

Der var engang i Amerika

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På denne grå regnfulde dag for præcis 28 år siden påbegynder The Clash sin første tour nogensinde i Nordamerika, kaldet Pearl Harbour Tour. Den kulminerer midt-februar, efter en lang, hård vinterrejse fra vest mod øst, i New York City, hvor det hypede show på Palladium overværes af bl.a. Bruce Springsteen, David Johansen, Andy Warhol, Nico, John Cale, Robert De Niro og hele Blondie. Joe Strummer skriver hjem til NME og fortæller:

JOE STRUMMER DIARIES OF PEARL HARBOUR TOUR
NME, March 1979

We meet at the airport and get on a plane to Vancouver. There seems to be quite a lot of us. We got baker and johnny green our backline crew, and rob and adrian who are welsh sound men.-warren “gandalf” sparks lighting engineer, and barry -scratchy’ myers, the famous d.j. Then there’s the four of us and caroline croon to handle the business.

“even aerosmith dont travel with so many people,” says epic records. .

– “ah yes we reply,” but we ve gqtta do it properly!”.

So, 17 hours later here we are vancouver, canada. No blizzards no snow no mounties—just the customs. They go through everything, confiscating studded belts, armbands, knives, cos they cant find any drugs. “if we’d known it was gonna be like this, we’d have brought some drugs for you” we tell ‘em. But they dont smile they just kick us out, knifeless and beltless.


Anyway, on with the show. We play the agora ballroom, which shold be called the agora cowboy saloon. Q. Are we not men? Ans. No, we are nervous.

But the show goes off real good an we meet bo diddley at last. Bo is coming on the tour and the next -morning a big shiny greyhound bus draws up outside the hotel with two nashville drivers: its all aboard first stop, California.

The bus is real neat with bunks a pisshole an a tv video. Its just come off away on jennings tour. We cross the us border real easy, no, search, nothing; “then its non stop across oregon.

– about midnight we doss in a ‘ faceless motel. I wake up and as i’m searching for some breakfast ,ace penna our us tour manager tells me ”hey, did ja know sid is dead?” i grab him by the throat “what do you mean” i snarl. Then as it sinks in, i dont want no breakfast. Our first morning in america.

In california the sun is shining weakly .the other people walk about the streets weakly.in fact everything here is done weakly except for when the cops get hold of you. We play the Berkeley Community Theatre on the college campus our first mistake, meaning, it aint our scene but we play and they dig it, tapping their biology books in time to the tunes.

Bill graham, famous hippie promoter is promoting the show and making all the money, but he leaves town just before we arrive. Next night however we agree to play a benefit for this youth organization who are trying to-open up the s.f.scene by promoting cost price rock shows. The show is really great ,the hall is really great, the audience is really great but we gotta leave straight after the set to drive the 400 miles to los angeles.


The drive takes all night and we test out the bunks which are like comfy shelves. We hit l.a. In the-morning an we gotta play the santa monica centre the same night. Me an mick try to get a look at hollywood’ but we collapse instead. Later mick tells me his hotel bed just kept moving all the time.just like mine. And we work out it is because we were on the bus all night.

The santa monica civic centre turns out to be a concrete barn. I only remember the really good shows or the really bad shows. So this one must have been just o.k. Cos my memory is blank.

Right after the set, they drag in some epic people. Quite a lot of em, line em up and try to get us to pose with them. I’m fed up with this so i’look at topper and he reads mythoughts ’lets fuck off outof it” he says almost simultaneously as mick and paul say it. So we do. When the epic people leave they do not speak and they do not look the air is thick as they file past.

Again straight after the show we gotta hit the road. A load of fans give us a great send off so we are all in a good mood as we head for oklahoma city.


On the bus Bo sits-up front’ slugging “rock n rye” and pouring. Out anecdotes from his 23 years on the road. The bus has three video tapes — star wars (groan) king creole(hooray) an blood for , dracula. Topper sits with his feet up showing off his new spurs watching these or-playing tricks on Bo with -whom he has hit it off real great. Mick and paul sit up the back plugged into-some jumping rockabilly, watching the endless truck tops slide by.

Drivling to oklahoma city is like driving from london to glasgow 10 times. So i get my head down and when i wake up we are in texas, i know this because johnny green and baker are wearing the biggest -cowboy hats i ever seen.

Texas is one of the best places although i cant say why. We are trying to reach cleveland ohio hoping to catcha plane in oklahoma city. Theres plenty of snow fog and ice at the airport but no planes. The bus has gone to nashville for repairs so we sit and wait. 24 hours later we finally get to cleveland, flying the roundabout route.


This guy called larry mcintyre lost both his legs in vietnam and when he went for a swim one day in the pool near his flat all the other residents banned him from the pool, on the grounds that it was too ‘ disgusting… So we agree to play a show for him, helping his legal costs but we dont get to meet him, i think because, having forgot his name, I reffered to him over the PA as the guy with no legs.

Incidently, to give you some idea of the size of the country, we meet some people who had travelled 800 miles to see the show.

Next stop is washington d.c.the bus has caught up with us so its all aboard. On this drive bo gives up his bunk to his guitar and he sleeps. Sitting up. So does Mick because nothing on earth will tempt him to get back in one of the bunks.

Meanwhile outside its 32 below zero and as we are filling up some place the brakes freeze up and are locked solid. So we have to sit and wait a few hours for them to thaw.

Those of you who stayed awake in school will know this is the us capital. Strangely enough most of the population is black, which makes all the white politicians a little nervous. We was gonna pay a call on jimmy carter but he was down in mexico,having a massage. So we played d.c. And headed out for boston. Even though this was only last week my memory has gone .again so lets say it was okay and get on with it, which means new york! New York! (so good they named it twice etc.).


New york is definately an o.k. Town. All the streets are straight and its laid out like a chess board.some parts are dead flash like manhattan and some parts are burnt out slums like the south bronx.

We was playing the Palladium.a bit like the Rainbow.this was the third gig in three days.and with all the travelling we was pretty knackered. During the sound check i over heard a yank talking to his mate “wow these guys have had it/they can hardly stand up, never mind play!”

Then bo told me the worst audiences in the US were detroit and nyc. “if you can play new york you can play anywhere” .

By gig time the place was packedand all the top liggers in town were there.we were plenty nervous halfway through the show i checked the audience and became convinced that we were going down like a ton of bricks. But like they say its a tough town and by the end of the day we managed to whip it out and give ‘em some of our best.

We stuck around for a day or so to see the sights like studio 54 which is okay but nothing to write home about.to get in without paying you have to turn up with andy warhol.

One more show to go, in toronto. We fly there to do the gig which is in a cinema. The dressing room actually is a toilet and the pa. Sounds as if its filled with hamsters on coke. Even though it sounds rough we really enjoy it and so do they, storming the stage at the end english style. One of the funniest things i ever saw was these two bouncers trying to hold the whole audience back. The two of them! After the first number they were swamped so they gave up and went ‘ home.

And the next day so did we, to break, crack, storm or blitz america you have to work as hard as elvis costello, shake hands and smile like the boomtown rats, and sound like dire straights. Of the three. We could make the first but not the rest so we are going to go back to play the us agal n but we must also play britain, japan, europe, australia, and its fair shares all round. Hey! I hear theyre really rocking in russia.

© Joe Strummer/New Musical Express

Nedenunder

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De to seneste indlæg her har taget udgangspunkt i Australien/New Zealand, så her en personlig top-10 over legendarisk gode sange lavet og udført af folk derfra:

1. Cattle And Cane – The Go-Betweens
2. Fairytale Love – The Triffids
3. Reptile – The Church
4. I’m Stranded – The Saints
5. Kare Kare – Crowded House
6. On A Night Like This – Kylie Minogue
7. Slave Girl – Lime Spiders
8. In Power We Entrust The Love Advocated – Dead Can Dance
9. Aloha Steve & Danno – Radio Birdman
10. I Want You Back – Hoodoo Gurus

Sir Nick Cave har de seneste ca. 25 år boet i London, Berlin, Sao Paolo og nu Brighton, så han får ikke lov at deltage…

Bury me deep in love

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Sidste år så et af de bedste australske bands nogensinde, The Triffids fra Perth, blive fejret og nyopdaget med en udvidet genudgivelse af Born Sandy Devotional, det dramafyldte gennembruds-album fra 1986. The Triffids – og specielt sanger David McComb – havde en sjælden evne for romantisk, stort-orkestreret pop-musik, der lød af en helt anden verden – måske det var Australien? Historien er ikke sjælden, med de superlative anmeldelser men skuffende pladesalg, som The Triffids høstede. Man turnerede intenst i Europa, gav bl.a. nogle fremragende shows her i Danmark – i Montmartre, i Carlton, i en gammel fin teatersal i Roskilde – og forsvandt så i opbrud og frustration over manglende kommerciel respons. Mens resten af bandet fandt sig vej hjem til Australien blev kun bassist Martin P. Casey tilbage, nu som fast medlem af Nick Cave & The Bad Seeds. Forsanger David McComb, ham med den store stemme, udsendte meget senere en enkelt uinspireret solo-plade, men da var han vistnok allerede forsvundet langt ind i drug-trouble-land, hvor han i 1999 døde, kun 36 år gammel. Siden har der været stille, både omkring ham og The Triffids, lige indtil sidste års Born Sandy Devotional blev sendt i kredsløb igen. Og den får nu snart selskab af de to efterfølgende albums; In The Pines, den enkle “mellem-plade”, indspillet hurtigt og bevidst primitivt i et fåreklipper-skur i ørken-landskabet uden for Perth, og Calenture, bandets absolutte mesterværk, hvor sangmateriale, arrangementer, elegant produktion, nerve og McComb’s filmiske tekster går op i en så højere enhed, der nemt overstiger de samtidige anmelder-sammenligninger med især Echo & The Bunnymens ligeledes stort anlagte Ocean Rain. Her er tracklistingen på de kommende Triffids-discs:

CALENTURE

Disc 1
1. Bury Me Deep In Love
2. Kelly’s Blues
3. A Trick Of The Light
4. Hometown Farewell Kiss
5. Unmade Love
6. Open For You
7. Holy Water
8. Blinder By The Hour
9. Vagabond Holes
10. Jerdacuttup Man
11. Calenture
12. Save What You Can
13. Baby Can I Walk You Home (bonus track)
14. Region Unknown (bonus track)
15. Love The Fever (bonus track)
16. Bad News Always Reminds Me Of You (bonus track)
17. Everything You Touch Turns To Time (bonus track)

Disc 2
1. Bury Me Deep In Love (rehearsal demo)
2. Kelly’s Blues (rehearsal demo)
3. A Trick Of The Light (rehearsal demo)
4. Hometown Farewell Kiss (rehearsal demo)
5. There Must Be A Curse On Me (rehearsal demo)
6. Open For You (rehearsal demo)
7. Burned (rehearsal demo)
8. Blinder By The Hour (rehearsal demo)
9. Vagabond Holes (rehearsal demo)
10. Jerdacuttup Man (rehearsal demo)
11. Save What You Can (rehearsal demo)
12. Calentura (bonus track)

IN THE PINES

Suntrapper
In The Pines
Kathy Knows
25 To 5
Only One Life
Do You Want Me Near You?
A Trick Of The Light (bonus track)
Once A Day
She’s Sure The Girl I Love (bonus track)
Jerdacuttup Man (bonus track)
Just Might Fade Away
Better Off This Way
Keep Your Eyes On The Hole
Blinder By The Hour (bonus track)
Wish To See No More (bonus track)
One Soul Less On Your Fiery List
Born Sandy Devotional
Love And Affection

Og hvad betyder Calenture? Ifølge pladens cover dette: “Tropical fever or delirium suffered by sailors after long periods away from land, who imagine the seas to be green fields and desire to leap into them.” En beskrivelse der også fint illustrerer The Triffids’ længselsfulde univers…

Favoritsange

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YOU AND US

Listen to Miss Kittin and The Hacker’s new direction
Driving a car or three on three, giving you a piece of life and energy somewhere out in the universe, for a novel
We try to analyze feelings, thinking about you, friends, mountains, and party times
I wish you could see us, how we are, how we love and hate

This is what our music is about, you and us
This is what our music is about, you and us
This is what our music is about, you and us
This is what our music is about.

Listen to Miss Kittin and The Hacker, our mind is real, on a cloud, when someone’s playing us in a club at night.
And we receive smiling on the dance floor, trying to forget everything
We don’t know you, but you are a part of ourselves, and we can look into your eyes, wherever you are

Because this is what our music is about, you and us
Cause that is what our music is about, you and us

Listen to Miss Kittin and The Hacker, we take planes, from hotels every weekend, we drive on the highway to other places, looking at the landscape running behind the window, we are all alone
Listen to something on the stereo

We would like to see skyline and city lights of New York, or Tokyo and then come back to the green fields we know, and do nothing
And sleep
And do that again and again

Because, this is what our music is about, you and us
This is what our music is about, you and us
This is what our music is about, you and us

Listen to Miss Kittin and The Hacker because this is what our music is about, you and us
You, and us.

Listen to Miss Kittin and The Hacker’s new direction
Driving a car or three on three, giving you a piece of life and energy somewhere out in the universe, for a novel
We try to analyze feelings, thinking about you, friends, mountains, and party times
I wish you could see us, how we are, what we love and hate

This is what our music is about, you and us
This is what our music is about, you and us
You and us
This is what our music is about, you and us
This is what our music is about, you and us

We would like to see skyline and city lights of New York, or Tokyo and then come back to the great fields we know, and do nothing
And sleep
And do that again and again

This is what our music is about, you and us
This is what our music is about, you and us

© Miss Kittin & The Hacker

You!

Her på siden vender vi – ialfald for et øjeblik – ryggen til enhver selvdyrkelse og retter blikket ud. Evnen til at kunne kommunikere bunder vel trods alt i sund nysgerrighed og interesse for den person vi finder os stående overfor, nej? På årets 26. dag tager vi derfor en top-26 over sange der henvender sig til – og begynder med – dig:

01. You Won’t Find It Again- The Go-Betweens
02. You And Us – Miss Kittin & The Hacker
03. You Just Haven’t Earned It Yet Baby – The Smiths
04. You Gave Me A Mountain – Elvis Presley
05. You Can’t Put Your Arms Around A Memory – Johnny Thunders
06. You Do Something To Me – Paul Weller
07. You Get What You Deserve – Big Star
08. You Are The Everything – R.E.M.
09. You And I – Sandra
10. You Are My Destiny – Paul Anka
11. You Know I’m No Good – Amy Winehouse
12. You Bury Me – Broder Daniel
13. You Don’t Have To Say You Love Me – Dusty Springfield
14. You Say You Don’t Love Me – Buzzcocks
15. You A Fool Boy – Angela Prince
16. You Don’t Understand – The House Of Love
17. You Must Please Remember – Morrissey
18. You Win Again – Hank Williams
19. You Can’t Be Too Strong – Graham Parker
20. You Keep Me Hanging On – The Supremes
21. You Wanted More – A-ha
22. You Don’t Miss Yor Water – Otis Redding
23. You Are The Only One – Ricky Nelson
24. You Should Never Have Opened That Door – The Ramones
25. You Little Thief – Feargal Sharkey
26. You – The Au Pairs

Og nu, hvis du har lyst…

I

Her på årets 25. dag en top-25-playlist, der – som det er så fandens højt oppe i tiden – hylder jeg’et; 25 klassiske sange der starter med det engelske “I”:

01. I Will Never Turn My Back On You – Chuck Jackson
02. I Can Never Go Home Anymore – The Shangri-Las
03. I Won’t Share You – The Smiths
04. I Had A Dream Joe – Nick Cave & The Bad Seeds
05. I Never Dreamed – The Cookies
06. I Wanna Be A Star – The Cockney Rejects
07. I Was Born To Cry – Dion & The Belmonts
08. I Really Love You – The Tomangoes
09. I Need Somebody – Iggy Pop
10. I Close My Eyes And Count To Ten – Dusty Springfield
11. I See A Darkness – Johnny Cash
12. I Remember California – R.E.M.
13. I Wanna Be Your Boyfriend – The Ramones
14. I Wanna Be Your Joey Ramone – Sleater-Kinney
15. I Feel Love – Donna Summer
16. I Can’t Forget – Leonard Cohen
17. I Remember The Railroad – Gene Clark
18. I Dream A Highway – Gillian Welch
19. I Can’t Help Myself – The Four Tops
20. I Put A Spell On You – Creedence Clearwater Revival
21. I Found A Reason – The Velvet Underground
22. I Like Girls – Sparks
23. I Fought The Law – Bobby Fuller Four
24. I Live For Speed – The Star Spangles
25. I Walked Away – Bobby Paris

Det er ikke nemt at begrænse sit jeg til 25. Kan vi få andre bud…?

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.