Here's the third volume out of four containing alternates to the "Covered" volumes made for the songs of Neil Young.
As with the other volumes in this series, the song selections were almost entirely made by guest poster Fabio from Rio. I just made a few small suggestions. So thanks again to him for his work on this.
I've already said pretty much all I wanted to say in Volumes 1 and 2 in this series, so look to that for more commentary. Also, Fabio wrote some liner notes, which are included in the download zip. (But they're the same notes for all four volumes.)
This album is one hour long.
01 Bandit (Liam Titcomb) 02 Sugar Mountain (Harpoondodger & Pat Robitaille) 03 Long May You Run (Chris Seldon) 04 Wonderin' (Nils Lofgren) 05 Coupe de Ville (Jens Severin & Helpless) 06 I Am a Child (Eliza Gilkyson, John Gorka & Lucy Kaplansky) 07 Words [Between the Lines of Age] (Chip Taylor) 08 You and Me (Trappers Cabin) 09 On the Way Home (America) 10 Lost in Space (Cosmo D) 11 Shots (Max Spada) 12 Can't Stop Workin' (Minus 5) 13 Hangin' on a Limb (Hall - Eserstam) 14 Country Home (Ragged Glory Holes)
Skip Spence of Moby Grape, Quick Silver Messenger Service and JA, “one of psychedelia’s brightest lights” I made the mistake of thinking this might be funny . . . .Skip sitting in the street (S.F.?) and it really isn’t . . . . .
Tragic end to a mercurial star . . . . read on here at Wiki
Give me back my broken night my mirrored room, my secret life it's lonely here, there's no one left to torture Give me absolute control over every living soul And lie beside me, baby, that's an order!
Give me crack and anal sex Take the only tree that's left and stuff it up the hole in your culture Give me back the Berlin wall give me Stalin and St Paul I've seen the future, brother: it is murder.
Things are going to slide, slide in all directions Won't be nothing Nothing you can measure anymore The blizzard, the blizzard of the world has crossed the threshold and it has overturned the order of the soul When they said REPENT REPENT I wonder what they meant When they said REPENT REPENT I wonder what they meant When they said REPENT REPENT I wonder what they meant
You don't know me from the wind you never will, you never did I'm the little jew who wrote the Bible I've seen the nations rise and fall I've heard their stories, heard them all but love's the only engine of survival Your servant here, he has been told to say it clear, to say it cold: It's over, it ain't going any further And now the wheels of heaven stop you feel the devil's riding crop Get ready for the future: it is murder
Things are going to slide ...
There'll be the breaking of the ancient western code Your private life will suddenly explode There'll be phantoms There'll be fires on the road and the white man dancing You'll see a woman hanging upside down her features covered by her fallen gown and all the lousy little poets coming round tryin' to sound like Charlie Manson and the white man dancin'
Give me back the Berlin wall Give me Stalin and St Paul Give me Christ or give me Hiroshima Destroy another fetus now We don't like children anyhow I've seen the future, baby: it is murder
"You can go anywhere in daily life and have your ears open and hear something, either something someone says to you or something you hear across the room. If it has resonance, you can use it in a song.
It is only natural to pattern yourself after someone. If I wanted to be a painter, I might think about trying to be like Van Gogh, or if I was an actor, act like Laurence Olivier. If I was an architect, there’s Frank Gehry. But you can’t just copy someone. If you like someone’s work, the important thing is to be exposed to everything that person has been exposed to. Anyone who wants to be a songwriter should listen to as much folk music as they can, study the form and structure of stuff that has been around for 100 years. I go back to Stephen Foster."
"I felt out of place. That group didn't have much musical merit and I thought it was crap": The oddball career of Kevin Ayers, quintessential English songwriter
David Lynch didn’t just make some of the greatest movies of the late 20th century; he was also blessed with being a polymath.
Not content with merely being a writer and director of films, Lynch was also a talented artist and painter. He could act, too, check out his scene-stealing turn as John Ford in Steven Spielberg’s masterful The Fabelmans for proof. However, the side project he seemed to have the most affection for was music.
It should come as no surprise, considering music operated as an intensely important part of building that signature Lynchian style.
Due to his obsession with the art form, it makes sense that he’d eventually stop merely telling his collaborators the vague ideas of the music that was in his head and start making music of his own.
By 1991, Lynch had been working with Angelo Badalamenti for over five years, their first collaboration coming with the distressing masterpiece Blue Velvet, and the two were on such similar wavelengths that they decided to collaborate directly on a whole music project together.
The two essentially wanted to take the ambient, experimental jazz they’d made for Blue Velvet and make a record out of it. As a result, Thought Gang was born. While a whole album was recorded, the only tracks that surfaced from it were on the soundtrack to the deeply misunderstood movie spin-off of one of the greatest TV series ever made, Twin Peaks: Fire Walk With Me. One of which was the song ‘A Real Indication’, which inadvertently sent Lynch to hospital.
The song is a moody slice of blues-infused jazz that was going to be built around Lynch’s own poetry. However, Lynch himself wasn’t comfortable performing the song, and couldn’t find anyone else to do it. So, being a top man and a top collaborator, Badalamenti volunteered to do the honours. Something which the infamously straight-talking Lynch told their engineer Artie Pohlemus would be “embarassing”.
Badalamenti was a man of his word, though, and stepped into the booth himself to improvise a performance of Lynch’s lyrics. The result needs to be heard to be believed. Badalamenti, looking and sounding like an enforcer from The Sopranos, delivered a raging, menacing, soothing and seductive reading of Lynch’s work, completely off the dome and unprepared. Lynch, being the supportive collaborator that he was, laughed so hard that he literally gave himself a hernia out of sheer mirth, describing the incident in graphic detail in an interview with Rolling Stone later on.
He recalled, “I laughed so hard, It was like a light bulb burst in my stomach. I had to have an operation and go through all this stuff ’cause of Angelo.”
At the very least, he loved what Badalamenti came up with so much that the song made it into Fire Walk With Me. However, the rest of the record wouldn’t surface until 2018, decades after the album was completed. It’s first single? A full-length, Lynch directed music video for ‘A Real Indication’.
Hopefully, the great man didn’t injure himself during that, too.
