His Bobness 1997- ??? - The Second Golden Age - The Word becomes Art - Part 2

(Follows on from Part 1 Below)

Bob Dylan talking to the world is a revelation. His songs are the most analysed and debated in the history of rock music but Dylan has to a large extent remained an enigma. A notoriously tough interview (he's spent large chunks of his career refusing them). Its little wonder he's suspicious of interviews, his experience with them in the early 60s was remarkable. The footage of press conferences in 'No Direction Home' and elsewhere in the sixties shows journalist with a remarkable ignorance of the man and his music. Bob plays with their ignorance with amusing candour but you feel his frustration. He's constantly asked to explain his work, his role in the 60s protest movement and Bob's favourite his position as the 'voice of a generation'. Even the 'hip' publications of the time often didn't get what was needed to engage Dylan in intelligent dialogue.
At the height of his fame he disappeared, moving to the country (Woodstock, NY) to raise his young family.
For someone who plays 100 shows a year and is so often seen he is rarely heard. On stage banter is for the most part non existent at a Dylan live show. Even with today's 'culture of fame' mentality Dylan manages to remain free from the media focus.

Chronicles Vol.1 is the first in a promised 3 part series of Dylan's autobiographies. It's without peer the most remarkable autobiography of a cultural identity I have read. To quote once again from Robert Forster's 'Monthly' article of October last year, "Chronicles: Volume One (2004), that astonished with its candour and wild poetic force. Chronicles ranks as one of Dylan’s greatest triumphs, as revolutionary and evocative as his best album, the almighty Blood on the Tracks." That's a huge call by Robert and not one I think I could match but I see why he makes the claim. I think more then anything this book told me how little I knew of Dylan. Preconceptions developed over 20 years of being a fan were shattered. Its an autobiography so of course its a personable book but it takes it further then that. I've tried and failed to explain what I mean by this with friends so forgive my clumsiness...when I read Chronicles I did it in the most part in one sitting (over a weekend anyway) I found at times as if I was having a one on one conversation with Bob. This was especially the case in the main section of the book dedicated to his early days in New York, feeling his way through the Greenwich Village folk scene. I'd be sitting on my couch, just me and Bob, Bob telling me about NYC 1961. The conversation chugged at furious pace because 'Chronicles' is eminently readable. Often I'd have to stop Bob because I had just realised the poetic scope of what I had just read. So caught up in the tale and the flow the beauty of the prose, the subtle working of a metaphor, exquisite detailing of even the mundane slipped me by. I'd go back and re read the paragraph or page and be gob smacked at its beauty. Its not a classical style, it's more a beatnik of the street dialogue a tone very much in harmony with the subject. If it can be compared to anything it would Kerouac circa 'On the Road' He manages to weave the style into the narrative like he does with with his lyrics and music. To further the analogy with his music, Dylan's best songs are enjoyed equally for their melody as they are their lyrics. You can tap your feet to his music oblivious to the lyrics, with the book you can read it captivated by the tale and miss the beauty in the stories delivery.



Chronicles Vol1 isn't a 'I was born Robert Zimmermen in May 1941' type of biography, those looking for specific answers to certain Dylan related questions probably won't find them. Its less a biography more a series of vignettes. It concentrates on three distinct episodes rather than delivering a linear narrative. Through out the book he describes hundreds of past acquaintances and experiences with stunning detail. The first (and last) and by far the largest section deals with a young Dylan arriving in NYC.

Dylan's ability to ground himself within a larger historical and cultural context throughout the book is one of the standout features. It works chiefly as a result of Dylan's modesty. Many of the books highlights had nothing to do with Dylan more the surroundings and personalities he associate with. He was a fan, his recounting tales of meeting some of the leading lights of the 'Village' scene were honest and you felt his excitement echo through the pages. It was what made the work so (the word I keep using) personable. Incredibly Dylan was like me at that age. Fueled with the ambition and guile, a time when ignorance is a tool not a defect, an attitude that is the realm of the young. It's not often you are given the opportunity to acknowledge a common bond of such significance with someone you revere so highly.
Its not that he didn't have ego, he did. He also had talent and determination but it was tempered by respect for those had come before.

We are given a look at life on the Woodstock farm during his late 60s sabatical. Its a look at a young husband and father. It's about life after the near fatal motorbike accident but typical to the book the bike accident is given one line. Details of that nature are not what this autobiography are about.

The book moves to 1989 and to the recording of 'Oh Mercy' with Daniel Lanois. Its a fascinating insight into Dylan's recording process. I'm sure Dylantologist would of preferred to know of the 'Highway 61' or 'Blood on the Tracks' session but its the unexpected that makes this biography work. What makes 'Oh Mercy' so interesting is Dylan acknowledges his career is on the wane and wonders whether this maybe the last time he enters a studio. Its another example of the uncompromising honesty the book delivers.

Though on release the book was generally praised (not to mention awarded) he did manage to upset some critics with the books style. I read these reviews and could only think of the 60s interviewers asking him inane questions like what's 'blowin in the wind' really about or 'what's it like to be the spokesmen of a generation'. Though no one could of picked that Dylan's autobiographical triliogy would start like this in retrospect its pure Dylan and I for one could ask for no more.
I find myself wondering what to expect from Vol 2 & 3...the answer of course is no idea.

Dylan's autobiography has been rumoured for years but that he was going to do a radio show was a complete surprise and 'Theme Time Radio Hour with your host Bob Dylan' is no ordinary radio show. As the title suggest 'Theme Time Radio Hour' is a weekly radio show centred around a specific theme. It was commissioned by the XM Satellite network in the US. The first season lasted an amazing 50 weeks and Dylan has just signed for a further two years. When it began Bob stated his aim with the show was to take the listener back to when he was a boy listening to the radio. A time predating the mass acceptance of television when the radio stations broadcast 'shows'. When listening to the show you can imagine a young Dylan 50+ years earlier huddled around his radio soaking in the sounds of Hank Williams, Elvis, Robert Johnson, Buddy Holly & Woodie Guthrie to name a few.



The show begins each week with with a Dylan penned monologue read by sultry female voice (Ellen Barkin as it turns out is the voices owner). It's usually loosely tied to the shows theme, but it always announces that for the next hour your radio is going to sound very different. Bob's voice is a broken glass and gravel rasp rather then a slick radio sound. It adds to the experience, offering a level of authenticity. Dylan chooses the music to play around the specific theme from his own collection. Its an eclectic mix. As you would expect there is lot of early folk, blue grass country and blues and a heavy 60s influence. However Bob shows that he's kept in touch musically and often throws a contemporary song into the mix.
Hearing Bob's choice of song is fascinating but the most compelling moments of the show are the minutes in between songs. It's the 'Word' and its brilliant. Its funny, informative and most important, revelatory. It's hard to explain its style as there's nothing out there to compare it with. Perhaps its easier just to share some quotes. (these are transcribed not copied so forgive me if not 100% accurate).

From the Devil episode : "The man who they say knew a little bit about the prince of darkness. According to legend Robert Johnson made a deal with the devil at the crossroads of highway 61 and highway 49 in Clarksdale Mississippi, he traded his soul, that's what they say, this is his song me and the devil blues"

From the Weather episode - "West coast weather is the weather of catastrophe, and the Santa Ana winds are the winds of the apocalypse"

From The Train episode - (introducing the Monkee's 'Last Train to Clarksville' - I didn't know it was anti Vietnam song) - “I’ve always felt the first rule of writing a subversive song is not to tell anybody that it’s subversive.”

From the Friends & Neighbours episode - "A song from the swingin’ ’60s. I don’t mean the swingin’ ’60s like Carnaby Street; I mean the swingin’ ’60s like, we have a party, and the men put all their car keys in a hat, the wives pick out a car key, they put on a Trini Lopez record, and everybody just swings.
Now, I’ve never been to a party like that myself, but I hear those kind of things happen."

After re reading these quotes I see that they are poetic, funny and/or informative, BUT they really don't translate well, to really 'get it' you need to hear them presented by Dylan's 'riding the rail carts' voice.

These shows really are wonderful, I implore you (even if you don't think its your thing) to download one and have a listen.
The amount of research that goes into each episode must be considerable. Coupled with all the other things Bob has going on its even the more remarkable. XM satellite radio network has provided him with equipment so that he can record his thoughts as they strike him at home, or on his frequent tours, so at least it doesn't require being in a studio weekly. The show is pre recorded.

For the first time in his illustrious career Dylan is allowing us to get to know him not just through his songs. A man who faced his mortality a decade ago and realised there was so much more that he wanted to achieve. Perhaps he's thinking of his legacy. Really the motivation matters little, the result has been as surprising as it has been rewarding to Dylantologist the world over.
Bob Dylan's 66 now, he's recorded more than 600 songs, released 44 albums, selling more then more than 57 million copies and played 2000 + shows. Remarkable. I changed the post title in part two of this post to read 1997 - ??? because this phase that Bobs in is showing little sign of slowing, long may it continue!!

Gotta love Bob...I do.

A list of Theme Time Radio Show Subjects

2.1 Episode 1: Weather
2.2 Episode 2: Mother
2.3 Episode 3: Drinking
2.4 Episode 4: Baseball
2.5 Episode 5: Coffee
2.6 Episode 6: Jail
2.7 Episode 7: Father
2.8 Episode 8: Wedding
2.9 Episode 9: Divorce
2.10 Episode 10: Summer
2.11 Episode 11: Flowers
2.12 Episode 12: Cars
2.13 Episode 13: Rich Man, Poor Man
2.14 Episode 14: The Devil
2.15 Episode 15: Eyes
2.16 Episode 16: Dogs
2.17 Episode 17: Friends & Neighbors
2.18 Episode 18: Radio
2.19 Episode 19: Bible
2.20 Episode 20: Musical Map
2.21 Episode 21: School
2.22 Episode 22: Telephone
2.23 Episode 23: Water
2.24 Episode 24: Time
2.25 Episode 25: Guns
2.26 Episode 26: Halloween
2.27 Episode 27: Dance
2.28 Episode 28: Sleep
2.29 Episode 29: Food
2.30 Episode 30: Thanksgiving Leftovers
2.31 Episode 31: Tennessee
2.32 Episode 32: Moon
2.33 Episode 33: Countdown
2.34 Episode 34: Christmas/New Year's 2 Hour Special
3 2007
3.1 Episode 35: Women's Names
3.2 Episode 36: Hair
3.3 Episode 37: Musical Instruments
3.4 Episode 38: Luck
3.5 Episode 39: Tears
3.6 Episode 40: Laughter
3.7 Episode 41: Heart
3.8 Episode 42: Shoes
3.9 Episode 43: Colors
3.10 Episode 44: Texas
3.11 Episode 45: Trains
3.12 Episode 46: More Trains
3.13 Episode 47: Fools
3.14 Episode 48: New York
3.15 Episode 49: Death and Taxes
3.16 Episode 50: Spring Cleaning, 2 Hour Season One Finale

Below to download - All 50 episodes of 'Theme Time Radio Hour with your host Bob Dylan'. There are 50 individual downloads. I guarantee if you download and listen to one you won't stop there (thanks to patrickcrosley.com for hosting.)

- 'Chronicles Vol1' as read by Sean Penn - I've never been a fan of the recorded novel but Sean Penn's rendition of 'Chronicles' is sensational. Each of the 6 sections is 40meg. Well worth the download if you have read the book or not.

- Bob Dylan and George Harrison - 'Unreleased Columbia Studios Recordings' - One last bootleg. In May, 1970 George Harrison joined Dylan in a New York Studio. The results were never officially released. This is a copy of those sessions. Enjoy.

For your viewing pleasure - A few more Bob clips to enjoy. Remember there's over 80 Dylan clips on the The Greatest Rock'n'Roll Site in the World youtube channel

Downloads :
Theme Time Radio Hour with your host Bob Dylan - 50 x 65mg mp3s of each of the hour long broadcast - each available as individual episodes.

Chronicles Vol.1 as read by Sean Penn - Part 1
Chronicles Vol.1 as read by Sean Penn - Part 2
Chronicles Vol.1 as read by Sean Penn - Part 3
Chronicles Vol.1 as read by Sean Penn - Part 4
Chronicles Vol.1 as read by Sean Penn - Part 5
Chronicles Vol.1 as read by Sean Penn - Part 6


Bob Dylan and George Harrison - 'Unreleased Columbia Studios Recordings'

'Ballad Of A Thin Man' - 'Eat The Document' Outake - Live Copenhagen April 1966



'Keep a good head and always carry a light bulb' - My favourite Dylan Quote



'Positively 4th Street' - An unused promotional video for Bob Dylan - It was originally recorded during Highway 61 Revisited but was not included on the record.



Bob Shows his love of interviewers - Time Magazine Interviewer, London 1966



An on the street interview Vienna 1981- Bob shows how not to answer questions.

His Bobness 1997- 2007 - The Second Golden Age - Part 1

Bob Dylan throughout the sixties. Bottom shot with Johnny Cash - 1969 'Nashville Skyline' sessions.


For as long as I can recall I have been a fan of Bob Dylan. Growing up I had the musical advantage of older brothers. Before I was ten I was well versed in not only Dylan but Bowie, Lou Reed (and the Velvets), Neil Young and the Stones (not to mention the Punk Rock scene that had taken over : Ramones, Talking Heads, Buzzcocks, The Saints, Pistols etc). It was a foundation that was to serve me well as all of these acts are still on high rotation at my place. To pick a favourite from this lot would be near impossible. I've listened to them countless times. I would say without hesitation that I'm more likely to hear something new in a Dylan song then any of the others. This is remarakable considering a huge number of them are pre electric and limited to Bob with an acoustic guitar. Its testament to the depth of the man's work that I say this.

I've tried to verbally explain some of the theories that I'm going to attempt to extrapolate over the next couple of posts to a few friends of late and have found myself frustrated with my inability to give clarity to my thoughts. With luck I will find the written word a more responsive ally.

The 1960s will forever be remembered as the decade of Dylan's songs. From his arrival in New York in '61 through the early masterpieces, the 1966 'electric', the bike accident right up until the release of 1969's 'Nashville Skyline', Dylan gave voice to politically motivated and culturally aware men and women of the 1960s. Dylan flatly rejected the 'voice of a generation' claim but his music spoke to the times. This was sometimes adopted sometimes planned. In August 1963 he performed at the Lincoln Memorial at the 'March on Washington' rally, a 'support act' to Martin Luther King, Jr. King delivered the 'I have a Dream' speech to 250 000 supporters. It was a defining moment of the civil rights movement and Dylan placed himself in the middle of it. His early songs ('blowing in the wind', 'times they are a changing' etc) became the anthems of the 60s counter culturalist. He captured the spirit of the times in his songs like no one else could. History will forever remember Dylan's music as the soundtrack of the 1960s.
If Nashville Skyline was his swansong never too be heard of again his greatness would of assured him a place beside the likes of Picasso and Hemmingway as the most significant forces in 20th Century Culture. Of course Bob did move past the '60s many argue his best didn't arrive until '75s 'Blood on the Tracks'. From the mid 70s until 1997 Dylan remained productive but his output fell well short of his best. Personally I believe that Dylan's last great album of his golden period was 1976's 'Desire'. It marked the end of a run of 16 albums from 1961. I cannot think of another artist who could come close to matching this feat.
What followed were years of wilderness were Dylan threatened to fade into irrelevancy. His follow up to 'Desire', 'Street Legal' was a bombastic cabaret sounding affair. A full rock/pop ensemble were assembled including female backing vocalist. Elvis may of been able to pull off Vegas but it didn't work for Bob. In 1979 he announced to the world his conversion to Christianity with the release of 'Slow Train Coming', the first of a what proved to be a trilogy of Christian albums. To say it left Dylantologist confused was an understatement. A stint of devout Judaism followed as did a series of poor records. There were a few minor exceptions, 1989's 'Oh Mercy' certainly has moments but in truth it appeared as if his passion had been lost. I often think that through this period he doubted his relevance. Its the only explanation I can reach as to why he believed it necessary to bring 'the latest thing' musicians and often producers to work on his records. Lyrically he was still Dylan so he still produced some powerful pieces but it it was as if he was distracted, almost bored. The songs were dull and weirdly orchestrated. Dylan was quoted in 1991, "there was a time when the songs would come three or four at the same time, but those days are long gone...Once in awhile, the odd song will come to me like a bulldog at the garden gate and demand to be written. But most of them are rejected out of my mind right away. You get caught up in wondering if anyone really needs to hear it. Maybe a person gets to the point where they have written enough songs. Let someone else write them."
It was an attitude that he certainly harboured through the 1990s. In '90 he released the awful 'Under the Red Sky' (featuring Slash on guitar - Bobby what were you thinking!!) he didn't release an original composition until 1997. Instead he released two albums of (somewhat interesting) traditional and folk covers.


Dylan in 2004

The original purpose of this article was to look at Dyaln's foray into new artistic endeavours over the last 10 years rather the concentrate on Dylan's musical re-emergence but its incredibly difficult to mention the trilogy of records that began with 1997s 'Time out of Mind' as simply a passing comment. Not even the most optimistic Dylan fan could of imagined that Bob was about to release the 1998 winner of the Grammy Award for Album of the Year. Dylan actually wrote most of the songs that would appear on 'Time Out Of Mind' in 1996 but had no intention of recording them. Dylan's belief in the quality of the songs was the catalyst for a change of heart. In January 1997, he booked a studio in Florida with Daniel Lanois sitting in as producer. He actually demo'ed the tracks, a process that was almost unique for Dylan. What made the resurgence all the more remarkable was more then being a continuation of a bygone career it was a reinvention. Dylan takes great care not to push his voice beyond its limits, its almost a speak/sing with his ageing voice sounding coarse and worn. In effect it creates a blues soaked cover to Dylan's folk/rock roots. Lyrically by and large, the songs are bitter and resigned, Dylan's new vocal delivery adds a real despair to his dispirited observations. In 1997 Dylan said of the songs on 'Time Out of Mind' - "they naturally hung together because they share a certain skepticism. They're more concerned with the dread realities of life than the bright and rosy idealism popular today." Following the albums release and subsequent success Dylan admitted that a number of the songs on 'Time out of Mind' pre dated the accepted writing period of 1996. He said, "the first album I've done in a while where I've protected the songs for a long time." Of course in his prime he was the king of this, often holding songs over for years before finally releasing them. The only other contemporary song writer as adapt at doing this is Neil Young - although I think he learnt the trick from Dylan.
Robert Forster, who of recent times has developed into a magnificent music/arts reviewer, wrote in the 'Monthly' of the reinvigorated Dylan in July 2006 - "Old age suits him. It suits him the way being young did. It’s a natural fit, for both are the traditional places where wisdom can flower: the fired minds of the young and the dusty, wily utterances of the old. It’s all the time in between that’s the trouble. Dylan, though, survived all the crashes and the madness of his years, and survived well enough to leave himself fully stocked for a fruitful and significant late period." Its a beautiful summation on the 'new' Dylan.

The album was released on the 30th of September, 1997 but before then and his legion of followers were unnerved by news of a sudden and serious downturn in Dylan's health. In late May '97 he was diagnosed with histoplasmosis, which causes swelling of the sac that surrounds the heart. Its a condition relatively rare in modern medicine, the disease gestates in bird excrement. (Ironically Dylan's great friend Johnny Cash wrote the humorous 1991 track 'Beans for Breakfast' - "Caught a cold with the window open, Crow droppings on my window sill, Prob'bly got histoplasmosis, If I had a gun I would kill those crows, Beans for breakfast once again"). Reports vary as to how ill Dylan actually was but his condition was exasperated by a late diagnosis. He spent a number of weeks in hospital and months recuperating. A European tour was cancelled and the new record release date postponed. The general consensus seems to be that Dylan was gravely ill and was forced to face his mortality. On Time out of Mind's release many speculated that the illness was the spark that reinvigorated him. The album however had been completed two months earlier. In years to come it would have a profound effect on his creative output.
"Love and Theft' was released on Sept 11, 2001 and despite its ominous release date it saw a refreshed Dylan release a another masterpiece. Its lyrically, loose, warm and and at times 'laugh out loud' funny. It's Dylan at his most engaging. The title was taken from Eric Lott's book, 'Love & Theft: Blackface Minstrelsy and the American Working Class'. In contrast to 'Time out of Mind's' bleakness 'Love and Theft' celebrates life and all its idiosyncrasies and characters. As suggested by the title of the book whose name it shares it looks at America and its people, specifically delving into the culture of the South. Remarkable its a stronger work then its predecessor and to me is one of the greatest blues-roots records ever recorded. Most striking is Dylan's change in outlook. It doesn't seem to an outrageous a suggestion to think his illness realigned his perspective.
The most recent of the 'new' Dylan records was released in August, 2006. Somehow Bob was able to produce what was for me was the strongest work of the three. 'Modern Times' is put simply a masterpiece. Like its predecessor Jack Frost takes over the production (Dylan's production pseudonym) Its a 'wise' record. Dylan is comfortable in his role of elder statesmen and uses his circumspection to acknowledge and comment on the 'Modern Times'. Its a personable piece many of the tracks written in the first person. As I type this (and it'll change) 'Workingman's Blues #2' is my favourite Dylan track, full stop. Huge call I know. Personally this record has become intrinsic to me since its release, its hard to explain. Its almost like its been my personal soundtrack for the last 12 months.
To a Dylan fan of my age these records have been a revelation. I'm to young to remember the records from Bob's first golden age being released (in fact I wasn't born for most of their releases). So prior to '97 all I knew of Bob's new work was his third rate output of the 80s and first half of the 90s. For a Dylan fan the thrill of a new release is once again magical and for the first time I'm old enough to experience it.
Before moving on to follow is a quick recap of the facts and figures associated with the trilogy of recent releases:

* Grammy awards - 'Time out of Mind' - Album Of The Year (Dylan's first), Best Male Rock Vocal Performance for 'Cold Irons Bound', Best Contemporary Folk Album.
- 'Love and Theft' - Best Contemporary Folk Album
- 'Modern Times' - Best Contemporary Album, Best Solo Rock Vocal Performance for 'Someday Baby'

* Sales and Chart Position - All three albums had platinum sales in the US (ie Sales in excess of 1 million copies). All three were top 10 records in the US ('Time' # 10, 'Love' #3, Modern Times # 1). Though Dylan has had a number of #1 albums 'Modern Times' was his first to debut at 1 (it achieved the same result in Australia). It was his first #1 record in 30 years.

* All three albums topped the Village Voice's hugely influential Pazz & Jop (best of) year ends critics poll. (ie 'Time out of Mind' in 1997, 'Love and Theft' in 2001 and 'Modern Times' in 2006).
All three albums appeared prominently in the various critics 'album of the year' charts.

* 2000 Academy Award winner - Best Original Song - "Things Have Changed" from Wonder Boys - the song was released as part of bonus disc to Modern Times (as well as the Movie Soundtrack)

If the 1960s are forever joined to Bob's songs I believe an arguement can be mounted that last 10 (1997-07) be remembered as Dylans decade of the word - both written and spoken. On first reading this it may appear ludicrous, Bob's always been about words, his lyrics have resonated with us for decades and it seems to contradict the gushing paragraphs dedicated to his last 3 records. However in the last 10 years Dylan has attacked new mediums with the same conviction and talent that he brings to his music. Primarily I refer to the first of his autobiography's 'Chronicles, Vol. 1' and his weekly radio show on XM Satellite network in the US (& the BBC in England) 'The Theme Time Radio Hour'.
In general the last 10 years has been the most prolific of his career :

*The 3 records

*The autobiography

*He co-wrote and starred in the comedic drama 'Masked and Anonymous' (A movie whose cast far out shone the actual film)

*Some forty years after it was filmed 'Eat the Document' was finally given an official (DVD) release. Filmed by D. A. Pennebaker and directed and edited by Bob, it captures footage of the 1966 electric tour as well as great footage of Bob and Lennon and Johnny Cash amongst others.

*Martin Scorcese's superb 'No Direction Home'. A BBC commissioned 3 and 1/2 hour documentary. It chronicles Dylan's career from 1961-66. It borrows a lot of footage from Eat the Document and features the most revealing interviews Bob has ever done. (A bit of NDH trivia - Scorcese and Dylan have never meet)

*'The never ending tour' as fans have labelled it continues unabated. Dylan has averaged over a hundred live shows a year since 1990.


Bobby meets his rival for the title of 'God on Earth' September 1997

*In September 1997, Bob was personally asked by Pope John Paul II to perform at an Italian Eucharistic Congress in Bolonga in Italy's north. 300 000 Catholic delegates were in attendance. John Paul (this isn't a joke) was said to be a fan of the acoustic era Dylan. In fact after Bob's show a mass was performed, John Paul based his sermon on 'Blowin' in the Wind'. The current Pope Benedicat has criticised John Pauls decision to get Dylan to perform, its the only public criticism he has ever levelled at his predecessor. Benedict appears to make John Paul look like a radical - "Pope Benedict has said that rock music is the work of Satan and last year he cancelled the fundraising Christmas pop concert at the Vatican, which under John Paul II had run for 13 years"

*'I'm Not There' is the name of the new Dylan biopic. It's the first that he has officially sanctioned. Its to be directed by Todd Haynes and is due for release boxing day, 2007. In true Dylan form it seems far from conventional. 6 different actors represent Dylan at various stages of his career including Cate Blanchett and young black actor, Marcus Carl Franklin.


A female and a black Dylan!




*** Part 2 of His Bobness 1997- 2007 - The Second Golden Age Tomorrow - 'Bob's Word becomes Art' ***

Today's Downloads :
To keep you going until then a couple of very special Dylan bootlegs.

- 'Blood on the Tracks - The New York Sessions' - Just days before the monumental 'Blood on the Tracks' was due to be released Bob was convinced by his brother David Zimmerman to re-record the album in Minneapolis. This is the original recording vastly different to the released version. Playing the two versions back to back is remarkable. The NY sessions band is pushed to the background giving the record an almost acoustic feel. Many rate this as Dylan's best record (not me) so the re recording was a history making decision. There is no way the two records would of been received equally. Its a must have for any Dylan fan.



- 'The Dylan/Cash Sessions' - in 1969 Dylan was recording 'Nashville Skyline' he invited Johnny Cash down to the studio. The following Bootleg was the result. One song "Girl From The North Country" - a remake of an earlier Dylan track (off the 'Freewheelin' Bob Dylan') was included on Nashville Skyline. Another must have for any Dylan (or Cash) fan.



- 'Workingman's Blues #2' - Stand out track from 2006's 'Modern Times' (9mg)

For your viewing pleasure a number of Dyaln videos. There are over 70 Dylan clips (plus many more of all the acts discussed in this blog) on the The Greatest Rock'n'Roll Site in the World youtube channel covering music videos, live performances, interviews and general raves from various times of Dylan's career.

Blood On The Tracks - NY Sessions

The Dylan/Cash Sessions

Workingman's Blues #2

An 81yo Gregory Peck presents Dylan with Kennedy Centre Honours. A heart felt and moving speech - 1997



'Like a Rolling Stone' - Play it Fucking Loud! - Manchester Trade Hall, 1966



Classic Dylan - the original rapper - Looking for a place that will collect, clip & return your dog - hilarious extract from 'No Direction Home'



Bob Dylan/ Johnny Cash- 'Girl From The North Country' - Live on the 'The Johnny Cash Show' May 1969"




Tune in tomorrow for Part 2 - Bob's Word becomes Art

Bob Dylan
Bob Dylan Bootlegs

Ever get the feeling you've been cheated?

The Sex Pistols....its hard to write anything meaningful that hasn't been written a million times before. Below is a bootleg of the last show, famously ending with Johnny Rotten declaring, "Ever get the feeling you've been cheated?". It was January 14, 1978 The Pistols were performing at San Francisco’s Winterland. Ending amid chaos and acrimony, the show heralded the finale of an ill fated US tour, the bands first outside of Europe. Malcom McLaren had deliberately booked the band into venues in the South and predictably chaos ruled.



Rather then writing an essay to follow are 25 facts that you may or may not known about the Pistols. (they appear in no chronological or thematic order...enjoy)

1. Sid Vicious was named after his pet hamster. A finger-biting creature named Sid the Vicious.

2. During the Pistols' heyday the band was slated to star in Who Killed Bambi?, a film directed by Russ Meyer and written by Roger Ebert, but the project eventually fell apart.

3. The Sex Pistols evolved from The Strand, a band formed in 1972 with Jones on vocals, Cook on drums and Wally Nightingale on guitar.

4. In December 1976, EMI arranged a series of concerts for January 1977 at the Paradiso in Amsterdam. But before boarding the plane at London Heathrow Airport, the band reportedly spat on each other and verbally abused airport staff. Witness's describe their behaviour as being to 'disgusting' to repeat. It's generally believed Jones had been vomiting on old ladies in the preflight lounge. EMI released them from their contract two days later. On hearing the news Rotten remarked, "I don't understand it, all we're trying to do is destroy everything."

5. In December '76 when the Pistol's made their ill fated appearance on Bill Grundy's Today program they were actually last minute replacements for Queen.

6. On 10 March 1977, at a press ceremony held outside Buckingham Palace, the Sex Pistols signed to A&M Records. They later went back to the A&M offices for what would become an unruly party. Sid Vicious trashed the managing director's office and vomited on his desk. Under pressure from its own employees, artists and distributors, A&M broke contract with the Pistols six days later.

7. Glen Matlock was kicked out of the band in Feb.1977 (reasons vary from 'his liking the Beatles' to 'he washed his feet to often'). 'Never Mind the Bollocks' however wasn't recorded until March that year. Matlock was redrafted as a session musician to compensate for Vicious' lack of musical ability. According to Jones: "Sid wanted to come down and play on the album, and we tried as hard as possible not to let him anywhere near the studio. Luckily he had hepatitis at the time".

8. As a teenager, Steve Jones was a kleptomaniac who accumulated 14 different criminal convictions and was the subject of a council care-order. He spent a year in a remand centre, which he says was more enjoyable than being at home, and has said that the Sex Pistols saved him from a life of crime.

9. Following his departure from the Pistols Rotten was stranded in the US. He eventually telephoned head of Virgin Records Richard Branson, who agreed to pay for his flight back to London, via Jamaica. In Jamaica, Branson met with members of the band, Devo, and tried to install Rotten as their lead singer. Devo declined the offer, their recollections of this meeting are hilarious. Neither Devo nor Rotten knew what Branson had planned.

10. After the Sex Pistols broke up in 1978, Steve Jones and drummer Paul Cook co-founded the hard rock outfit The Professionals. They released one album, but disbanded after a serious car crash while on tour in the US in 1981. Ironically, the title of The Professionals' debut album was 'I Didn't See It Coming'.

11. Sid Vicious was the original drummer of 'Siouxsie and the Banshees'

12. On October 12, 1978, Sid Vicious allegedly stabbed Nancy Spungen to death in room 100 of NYC's famous Chelsea Hotel. The room has since been dismantled as hotel management needed to put an end to a seemingly endless pilgrimage of young Punks.

13. Sid's mother Anne Beverly who had a history of heroin abuse herself, scored the heroin that Sid fatally OD'ed on in February, 1978.

14. The Malcolm McLaren / Vivienne Westwood shop SEX situated in King's Rd, Chelsea was originally a Teddy Boy shop called 'Let it Rock'. McLaren changed it after visiting New York in 1974/75. The new incarnation sold bondage and fetish clothing as well clothes catering for the new punk fashion. This is interesting as the new generation of Teds became the arch-enemies of the Westwood and McLaren-inspired punk rockers.

15. While in New York Mclaren briefly managed the New York Dolls. He also tried unsuccessfully to manage The Neon Boys an early incarnation of Tom Verlaine and Richard Hell. (soon to become Television). They turned him down.

16. After the Pistols breakup McLaren managed Adam & the Ants, sacking Adam after a few weeks, recruiting a new singer and turning them from bleak post-punk into the colourful and percussive Bow Wow Wow. Bow Wow Wow were fronted by the 14 year old Annabella Lwin.

17. Steve Jones played on Lisa Marie Presley's 2005 album, Now What.

18. Paul Cook produced Bananarama's 1982 debut album 'Deep Sea Skiving'

19. Steve Jones is now a teetotaller who campaigns against swearing on television.

20. Johnny Rotten is now a 51-year-old US property investor with a portfolio worth more than eight figures.

21. Joseph Corre, son of Vivienne Westwood and Malcolm McLaren, is the founder of lingerie brand Agent Provocateur.Agent Provocateur is a well known lingerie brand based in the United Kingdom. It has three stores in London, a concession in Selfridges London, a store in Leeds and three stores in the United States. The first shop was opened in 1994. Celebrities like Paris Hilton, Christina Aguilera, Kate Moss and Carmen Electra, are among their VIP clients

22. On December 21, 1988 Johnny Lydon and his wife were due to be on the doomed Pan Am Flight 103. Pan Am Flight 103 was the Pan American World Airways transatlantic flight from London's Heathrow to New York's JFK International Airport. On December 21, 1988 the flight exploded and the remains landed in and around the town of Galloway, Scotland. Forensic experts determined that about a pound of plastic explosive had been detonated in the airplane's forward cargo hold. Rotten claims that they missed the plane due to delays in his wifes packing.

23. On the album 'Live Rust' during the song 'Hey Hey, My My (Into The Black)' Neil Young crowns Johnny Rotten 'The King'.

24. Lydon appeared on Judge Judy fighting a suit filed by his former tour drummer Robert Williams. Lydon won the case, and the judge called Williams a "nudnik"; although she did advise Lydon to keep quiet several times.

25. In 2006 The Pistols signed over the rights to their back catalogue to Universal Music Publishing Group. The did so knowing that Universal were going to exploit its commercial possibilities. Range Rover and British Airways are believed to be interested in using Sex Pistols songs in their ads. It gets worse. There are reportedly also plans for Sex Pistols action figures, a Sex Pistols musical and Sex Pistols ringtones. - (Ever get the feeling you've been cheated?)

To download January 14, 1978 The Pistol's final show recorded live at San Francisco’s Winterland.

The Sex Pistol's Live, Winterland San Francisco, 14/1/78

To view a number of clips and interviews.



Sex Pistols

Watt you talkin' about....

Mike Watt is one of rock's great bass players. His contribution to American Alternative Rock is immense.
Trouser Press describes Watt as "A blue-collar hero in an art-school world, bassist and working-joe conceptualist Mike Watt has been a titanic presence on the avant-rock scene since the dawn of the '80s." Its apt, Watt is a walking advertisement for substance over style. Punk rock is his music, not his fashion. His image is he has no image. He could easily be the guy that just fixed your car, rather then the guy whose bands blew up your car stereo on the way to the garage. A common thread throughout his career is the acts he has played with have been trail blazers, unafraid to push musical boundaries. He's played in some of the most important acts of the genre including the Minutemen, fIREHOSE, Ciccone Youth, Porno for Pyros, The Stooges, Dos and J.Mascis and the Fog to name but a few. He's also done studio session work with Sonic Youth, Stan Ridgeway, Juliana Hatfield and Kelly Clarkson (!?!?)
Watt was born in 1957 in Portsmouth, Virginia. His father was a sailor in the Navy who specialised in working in nuclear powered submarines. Military life meant that his family moved constantly as he was growing up. In 1967, with the Vietnam war on, Watt's dad needed to be near the Pacific. The family moved to San Pedro, California.
The Minutemen was where it all began for Watt and to this day it remains his most important contribution. The Minutemen were Watt, Guitarist/Vocalist D.Boon and drummer George Hurley.
Watt famously meet (Dennes Dale) D.Boon when a teenage Boon fell out of tree and landed on him in a suburban San Pedro park. An auspicious beginning to what would become one of the great pairings in alternative rock. The two became firm friends almost immediately. Though they claim they were musically naive they both shared a love of what they knew. Watt's mother actually taught D. to play the guitar and encouraged Watt to learn the bass.

Mike Watt points to the tree that D.Boon fell from during shooting of the Minutemen documentary 'We Jam Econo'

In 1973, as 15 year old boys they formed their first band, the 'Bright Orange Band.' Over the next 6 years Boon and Watt formed and disbanded a number of bands (Starstruck and The Reactionaries were two) before eventually settling on the Minutemen in Jan. 1980. George Hurley eventually joined them on drums. Their first gig was in July of that year supporting Black Flag.

The Minutemen quickly became one of the leading players of the American Underground punk scene. Though it can be argued that what they played wasn't punk at all (although there was elements of it). I'm sure they would dispute the title 'art rock' but it was close. They definitely skirted the boards of the avant-garde/experimental. Boon played small lightning flash guitar parts, while singing political fused lyrics. Watt's bass was flushed with jazz inspired melodies and though Hurley's long blond fringe looked conspicuously out of place his strong drum beats rounded out the trio perfectly. Boon's guitar had a high treble sound which worked off Watt's bass. The sound acknowledge Beefheart as much as did the Punk stuff that had come before it. They often refused to stick to the conventional verse/chorus rules of songwriting and rarely did a song clock in at over 90 seconds. Lyrically the band was the most politically charged of the movement and they can lay claim to having some of the funniest song titles in rock. (Political Song for Michael Jackson to Sing, God Bows to Math, Bob Dylan Wrote Propaganda Songs, Mutiny in Jonestown, The Roar of the Masses Could be Farts and Jesus and Tequila are a few).
Signed to Greg Ginn's SST label The Minutemen recorded four studio albums and numerous mini albums and singles. Few could argue their classic was 1984's double album 'Double Nickels on the Dime'.
Double Nickel is CB radio slang for a speed limit of 55mph and The Dime is the nick name for the highway running from LA to San Pedro. The album cover shows Mike Watt behind the wheel of his VW Combi van, the speedo set to 55 about to hit the San Pedro turn off.
Originally conceived and recorded as a single album, the band recorded a second disc after learning that SST label mates Husker Du were set to release the double album 'Zen Arcade', not to be out done the Minutemen returned to the studio and in an all night session recorded the 2nd album. On the inside sleeve the band have gleefully printed, "Take that, Huskers!" Its an intelligent record filled with an unshakeable conviction. Musically its expansive covering a wide genre range from punk to folk and funk to pop (via Jazz), all played in the distinctive minutemen style. Highlights include, 'It's Expected I'm Gone', 'Corona', 'This Ain't No Picnic', 'Political Song for Michael Jackson to Sing', 'Cohesion', 'Nature Without Man' and 'History Lesson Part 2'.


Mike Watt & D.Boon early, '84

Tragically on December 22, 1985, D.Boon was killed in a van accident in Tucson, Arizona. Boon sick with fever was sleeping in the back of a van being driven by his girlfriend. It ran off the road and Boon was thrown through the vans back doors breaking his neck on impact. It brought a tragic end not only to a great band band but also an endearing friendship.
The lyrics of 'History Lesson Part 2' went from a joyous celebration of Boon and Watt's friendship to its tragic eulogy.

"our band could be your life
real names'd be proof
me and mike watt played for years
punk rock changed our lives

we learned punk rock in hollywood
drove up from pedro
we were fucking corndogs
we'd go drink and pogo

mr. narrator
this is bob dylan to me
my story could be his songs
i'm his soldier child

our band is scientist rock
but i was e. bloom and richard hell,
joe strummer, and john doe
me and mike watt, playing guitar"

D.Boon obituaries can be read here.

Following Boon's death Mike Watt (and George Hurley) were understandably devastated. Both intended to give up on music. Friends encouraged Watt to reconsider. Sonic Youth involved Watt in the Ciccone Youth project as well as inviting him to play bass parts on their 1986 album 'Evol'. It was an unexpected knock on the door that was the real catalyst in motivating Watt to continue. A 22 year old Ohio native and devout Minutemen fan, Ed Crawford (Ed fROMOHIO as he would be known), found Watt's address in the phone book and successfully pleaded with him to continue. The result was fIREHOSE, Hurley continuing his role behind the drums. Watt choose the the name after watching the clip for "Subterranean Homesick Blues', specifically the line "Better stay away from those that carry around a fire hose" - Dylan holds up a card saying firehose.
In many ways fIREHOSE were an under appreciated band. Maybe it was because they differed significantly from the Minutemen. They did share common elements. Watts bass sound was still a very prominent feature for one, but they lacked the experimentation of the minutemen. Ed probably had a better voice then Boon, but his lyrics lacked the political bite. Over a five album career they did produce many great tracks and their 1987 album 'if'n' deserves to be remembered as a classic.
As with the Minutemen's Double Nickels Husker Du are again name checked on the cover, this time with a photo. The album showed the benefit of the band having played together for over 18 months and was a more cohesive recording then the debut 'Ragin' full On'. Though the songs can hardly be called traditional they do fit the mould more so then the Minutemen did. 'Anger' is a violent explosion of rage, with George Hurley's drums taking centre place. 'For the singer of REM' is a devastating parody of REM. It's a very REM sounding piece (deliberately so). Watt has since been quoted as saying that he believes REM were light weights, but its a little surprising that it was recorded as the Minutemen's last tour was supporting REM, a tour which exposed them to a far larger crowd then they had enjoyed before. Other highlights are 'Sometimes', 'Windmilling' and the beautiful tribute to the wonderful Elizabeth Cotton, 'In memory of Elizabeth Cotton'. Watt takes over vocals on a number of tracks including the hilarious 'Me & you, remembering' and Nick Cave circa Birthday Party sounding 'Thunder child'.
fIREHOSE followed 'If'n' with their third album 'fROMOHIO', like its predecessor it shows a band at their creative peak. Its highly recommended. It was followed by 'Flyin' the Flannel' and finally the disappointing 'Mr. Machinery Operator'.
fIREHOSE disbanded in 1994.
If there can be any doubt on Watt's place in the cannon of American rock a quick look at the musicians that appeared on his first solo record will dispel it. They included : Henry Rollins, Sonic Youth, Curt and Cris Kirkwood (Meat Puppets), J Mascis, Eddie Vedder, Krist Novoselic and Dave Grohl (making their first recorded appearance on a record since Kurt Cobain's death), Stephen Perkins (Jane's Addiction and Porno for Pyros), Flea, Dave Pirner (Soul Asylum), Pat Smear (Germs/Nirvana), Frank Black, Evan Dando, Zander Schloss (The Circle Jerks), Nels Cline, Anna Waronker, Mike D, Adam Horowitz and Bernie Worrell (Parliament/Funkadelic). Not surprisingly 'Ball-Hog or Tugboat?' was released in 1995 to critical acclaim. Watt toured the album under the moniker of the 'Mike Watt Band'. members included Eddie Vedder on guitar and Dave Grohl on drums.
In 1996 Watt toured with Porno for Pyros before returning to the studio in '97 for a less star studded second solo outing. A 'rock opera' - 'Contemplating the Engine Room'. The record is a tribute to his deceased father (who appears on the cover) and to D.Boon. The idea of a 'rock opera' seems ludicrous but Watt pulls it it off, through in no small part to the superb guitar work of Nil Cline. Its a pleasant and moving tribute to lost loved ones.
In early 2000 Watt fell ill suffering an infection of his perineum. It is a painful and debilitating ailment. After a lay off of some three months Watt played in two Stooges covers bands in an attempt to regain his strength. The first was called Hellride, which played shows around California and the second Hellride East, who played around New York. Hellride East included J.Mascius and Dinosaur Jr drummer Murph. J Mascis ended up asking Watt to play in the fog. his first real act since Dinosaur Jr's demise. During the European tour they were joined on stage by Ron Asheton, breaking normal set lists to play Stooges tracks. Later on at a Belgium festival Scott Asheton joined them on drums. Watt had previously played on Iggy Pop's Skull record and as such his presence around the three remaining Stooges can be seen as one of the catalyst to the bands 2003 reformation. Fittingly Watt was conscripted into the vacant bass spot. In an interview at the time he spoke of playing with the Stooges - "It's trippy, because I feel so tiny," he says. "This is the fucking Stooges. They're a source. They're not derivative of anything. I'd heard them when I was 16. If D. Boon had said, 'In thirty years you're going to be playing with them'--it's just very strange."
I saw them a couple of years back and it was one of the greatest rock'n'roll shows of all time. Unfortunatly they went on to put out a rubbish record (the Weirdness - but lets not hold Mike responsible for that!).


Mike Watt with the reformed Stooges

I could go on about Mike Watt, his influence on Alternative rock is everywhere. On Sonic Youth's 'Daydream Nation' its a message that Mike Watt left on Thurston Moore's answering machine that forms the centre piece of the song, 'Providence'. The Chilli Pepper's dedicated their break through Album 'Blood Sugar Sex Magik' to Watt.
I sort of had the pleasure of meeting Mike Watt in 1996. Porno for Pyros were playing in Brisbane at a venue called The Arena (I was there to see Watt, I'm not a fan of Pornos, or Janes for that). It has a little DJ booth area that over looks the stage a great place to watch a band. You need a special pass from the venue to get in there (different to the band laminate). I had moved a chair to the front of the cage and was sitting in it with a friend while the other 8 or so people allowed in the cage stood behind us. It was the best spot in the venue. We were watching the support act. I looked behind me and saw Mike Watt standing behind the cage area straining to see the band. 'WTF that's Mike Watt' I thought. I jumped up and went over to the gate to let him into the cage area. After letting him he thanked me walked past me straight to my chair!! Mike and my friend spoke for 15 minutes while I stood at the back of the cage!! My mate said he was a lovely chap. To his credit I think he thought I was offering him my chair. Mike next time you're in Brisbane playing bass for Porno for Pyros and I let you into the DJ cage to watch the support band, remember I'm not that nice!!

There is a new Minutemen Documentary doing the film festival rounds at the moment. Its called "We Jam Econo". Here's a greatNew York Times review.

The Watt from Pedro Show is a regular radio podcast that Watt and his brother do. Well worth the listen.

For download Minutemen's - Double Nickels on the Dime, from 1984 and fIREHOSE - if'n from 1987.

Minutemen's - Double Nickels on the Dime

fIREHOSE - If'n

A viewing treat The Minutemen aboard a boat in San Pedro Harbour in late 1984. Unfortunately there are a few tracks missing from the middle and its very rough but you get the vibe. Also this funky new youtube feature allows them all to be viewed via the one screen...enjoy!



"We Jam Econo" - The Story of the Minutemen - Movie Trailer



Sonic Youth's Thurston Moore on the first time he meet Mike Watt. An hilarious deleted scene from "We Jam Econo"



fIREHOSE - 'Down With the Bass' from 1989's 'fROMOHIO'



Mike Watt
Minutemen
Firehose

Milk Hotels, Athens GA.

"Hi my name is Keith and I'm a Scorpio from Athens, GA and
I like to find the essence from within"
'Song For A Future Generation' - B52s.

Indeed Keith Strickland, is from Athens, Georgia as are his fellow B52s. Dunedin may have had its day in the sun but per head of population nothing comes close to Athens, GA. for producing bands. It's population is 100 000 and like Dunedin it's a University town. This of course leads to an influx of thousands of young people, often creative, keen to learn and experiment. This however is not enough to explain how towns like Athens and Dunedin can produce such outstanding acts. You can understand a scene develops around a common link (ie Flying Nun in NZ) and artist encourage and help each other and I'm sure this has been the case in both towns. Remarkably however with Athens we are talking about a 30 year phenomena.
Since the late 70s Athens has been home to : B52s, R.E.M., Pylon, Matthew Sweet, Indigo Girls, The Primates, Widespread Panic, Man or Astro-man?, The Apples in Stereo, The Olivia Tremor Control, Of Montreal, Drive-By Truckers, Danger Mouse (Gnarls Barkley), Elf Power and The Neutral Milk Hotel to name but a few. An odd bunch, musically moving from Electronica to Cow Punk and Indie Pop to Rock. One constant amongst all the acts seems to be the 40 Watt club. It appears to be to Athens what CBGB's was to mid 70s punk in New York.

It was started in 1978, by Curtis Crowe. Crowe was a member of Pylon and his original intention for the space was a Pylon rehearsal room. Its been bought, sold and invested in many times. Its also moved locations a number of times over the years but seems to of never lost it relevance. (Thankfully the owners have never thought a move to Vegas was a good idea, unlike CBGBs Hilly Kristal's proposed idea for the shut NYC landmark).




Two of the numerous premises that the 40 Watt club has been housed in. Directly above is the present location.

Meeting peers and using a space to create a scene is one thing but sustaining that movement over a period of 30 years is something all together different.
If we look at my hometown of Brisbane, Australia its generally considered that we have had two golden musical periods. One in the post punk 70s and the second in the mid 90s. The most internationally successful one was the late 70s. It grew as response to an oppressive Government. The National Party were in power in Queensland and they are widely acknowledge as the most conservative (and corrupt) ruling party in Australian Political history. So much art is created in the midst of oppression, I suppose its hard to limit personal expression and so repressed people use differing forms as an outlet. Anyway Brisbane in the 1970s produced The Saints, The Go-Betweens, Riptides, Apartments, the nucleus of Died Pretty to name but a few. It was very short lived as a scene as all the bands who got a wiff of success escaped. Its significance is as a scene it had a catalyst, a beginning and an end. Athens has a catalyst, a beginning but no end seems in site. I should point out that I have never been to Athens, although on my next US trip I plan to, so I base my observations from afar, but I think a comparison maybe able to be drawn with a successful sporting team. (Apology in advance to people from non cricket playing nations) The Australian cricket team is a great example. For close to twenty years now they have dominated international cricket. In that time the playing personnel has turned over many times but they have continued winning. The reason is 3 fold, firstly the people in and around the team have an expectation of winning and create a winning culture. Secondly senior players counsel the younger players on how to play well and how to win and finally the national psyche expects success so the administrators are given more resources to train and promote Australian cricket. If we look at Athens music with these ideas in mind after such a long time of producing great acts Athens is known as a music town, its promoted as such not only by the Industry but by the authorities in the town as well. They set up programs encouraging musicians to play and to live in Athens. If the town is going to present itself as a great hub for music it needs to keep producing, or at least encouraging migration of great musicians.
Further as the Australian Cricket side is expected to win, Athens is expected to produce great music so the Industry keep a close eye on acts emerging from there. Its great and all those involved should be applauded.
Before I move onto a specific act, ever wonder where R.E.M. got the title for the '92 record 'Automatic for the People', wonder no more. People travel from all round the world to see 'Weaver D's'.



Last week I looked at REM one of the founding groups on the Athens scene (with Pylon and the B52s). Today I want to look at the later day torch bearers, The Elephant 6 Recording Company, specifically the wonderful Neutral Milk Hotel. Elephant 6 is a collection of musicians/like minded friends that had its beginnings in a high school in Louisiana. Robert Schneider, Bill Doss, Will Cullen Hart and Jeff Mangum are the founding fathers of the collective originally assembling as 14 year olds. Via different routes they all ended up in Athens all forming successful bands in their own right. Most notably Apples in Stereo (Robert Schneider), The Olivia Tremor Control (Will Cullen Hart & Bill Doss) and Neutral Milk Hotel (Jeff Mangum). Though a feature of the collective is the interchanging of personnel both as musicians and producers. A full list of acts in the collective follows.
The Apples in Stereo, Beulah, Black Swan Network, Chocolate USA, Circulatory System, Dixie Blood Mustache, Dressy Bessy, Elf Power, Essex Green, Frosted Ambassador, The Gerbils, High Water Marks, Major Organ and the Adding Machine, Marbles, Minders, The Music Tapes, Neutral Milk Hotel, Olivia Tremor Control, Orchestre Fantastique, Pipes You See, Pipes You Don't, Secret Square, Sunshine Fix, ulysses and Von Hemmling.
Apart from friendship and interchangeable members the bands are linked by a love of slightly off kilter lofi, the Beatles and the Beach Boys. Amongst their number are an extraordinary number of great records.
There is none better then Neutral Milk Hotel's 'In The Aeroplane Over The Sea', in fact there are few better pop albums in history. NMH is the vehicle created by Jeff Mangum to release his music in 1990. From 1990 until '94 Magnum travelled the US, crashing at friends places. Over this time he produced a number of demos but nothing was released. In October '94 he released his first official output a 7" 'Everything Is'. It was released by Seattle Indie 'Cher Doll Records'. 1995 was spent recording the full length debut 'On Avery Island'. A number of musicians were drafted in to assist recording they included, Elephant Collective associates, most notably Robert Schneider. Released the following year the album stands alone as a great work. 'Song Against Sex', 'Gardenhead/Leave Me Alone', 'April 8' and '3 Peaches' are personal favourites. However if like me you heard this record after first hearing 'Aeroplane over the Sea' its hard to see it (very unfairly 'cause its is a wonderful CD) as anything but a training record for the might that was about to come.
I missed the release of 'In The Aeroplane Over The Sea', its penetration into Australia was small. It was released in 1998 and I didn't hear it until 2003. When you work around music for as long as I have and see thousands of shows (many because its expected not desired) you become a bit jaded and for something to pique interest it needs to be special. On hearing this in 2003 not only did it capture my interest but it totally reinvigorated my love of music. You can see why I rate it so highly. But 4 years on it still is in the top 5 albums played in my house. 'In The Aeroplane Over The Sea' along with Pavement's 'Slanted and Enchanted' are the two great pop records of the 90s and I would list them in that order.
The album was written throughout the first half of 1997. Mangum had joined his fellow 'Elephant 6' cohorts as a fulltime resident of Athens. He quickly attracted local fans, the biggest being Michael Stipe.
For the first time Mangum had assembled a relatively stable lineup. Joining him was Jeremy Barnes (drums, organ), Scott Spillane (trumpet, flugelhorn, trombone, euphonium, horn arrangements) and Julian Koster (Wandering Genie, singing saw, bowed banjo, accordion, white noise). Mangum's old school friend and Apples in Stereo front man Robert Schneider was assigned to produce the album. To do so the band relocated to Denver. Recording began in July 1997 and took three months.
To little fanfare 'In the Aeroplane over the Sea' was released in the US on Feb.10th, 1988.

The first thing that grabs you is the cover art. The design was a collaboration between Mangum and Chris Bilheimer. Bilheimer is a graphic artist employed full time by REM. His official title at REM hq is the art director. The job allows him to freelance and in that capacity he has worked with Green Day, Smashing Pumpkins, Foo Fighters and Grant Lee Buffalo, to name a few. Mangum found the original turn of the century European postcard and Bilheimer added the distinctive drum replacing the women's head. The inner sleeve is equally compelling.



Labelling this album is difficult, its definitely indie pop/rock and there is a psychedelic feel to it. Its more then that though but labelling an emotional response is difficult. The most significant musical aspect of the record is Mangum's distinctive voice. It soars above the beautiful instrumentation that's displayed throughout the album. A quick recheck of the band reveals the scope of instruments used on the record. (Accompanying the standard band instruments is an Organ, wandering genie, singing saw, bowed banjo, accordion, trumpet, flugelhorn, trombone, euphonium). They are used more to create depth and atmosphere rather then to take centre stage, Mangum's voice is the musical star of this record.

Its lyrically where this album really lays it claims to greatness. In interviews conducted at the time of release Mangum announced that the record was based on tragic life of Anne Frank as outlined in "The Diary of Anne Frank". When I first heard this I thought it was a brave thing to admit to. "The Diary of Anne Frank" is almost compulsory for grade 8 and 9 school kids. Its obviously thematically powerful, but a literary powerhouse its not (not quite Joyce or Dostoevsky). It was a visceral rather then a direct influence, you would never pick a connection if not told. There are references to the tragedy of World War 2 and deaths within sight of the war's completion. There is even a direct reference to a ghostly character hovering through some of the texts, whose name is Anne. However other songs seem to have little to do with the war. "Anne Frank" is a terribly sad book and the way Neutral Milk Hotel manage to manifest this through emotive lyrics and atmospheric soundscapes make listening to this record such an enriching experience.

The album doesn't have a weak track so to follow a run through of all of them.

'The King of Carrot Flowers Pt. One' opens the album. It begins with little more then Mangum strumming an acoustic guitar later he's a joined by a beautiful harmonic accomplice (I can't pick what this instrument does anyone know??). He tells the story of a young mans first love, "One afternoon I knew I could love you, And from above you how I sank into your soul, Into that secret place where no one dares to go" and he juxtaposes this with the young girls parents relationship "And your mom would stick a fork right into daddy's shoulder, And your dad would throw the garbage all across the floor".

'The King Of Carrot Flowers, Pt. 2-3' controversially for some opens "I love you Jesus Christ, Jesus Christ I love you, Yes I do". Magnum fearing that this would be misunderstood adds comments to CDs linear notes, explaining the intent behind the piece "a song for an old friend and a song for a new friend and now a song for jesus christ and since this seems to confuse people i'd like to simply say that i mean what i sing although the theme of endless. Endless on this album is not based on any religion but more in the belief that all things seem to contain a white light within them that i see as eternal"

'In the Aeroplane Over the Sea' - the title track, employs a beautiful use of horns as a foil to the Mangums strumming. the duality exposed here appears to be echoed in the lyrics. The protagonist seems to find real love and happiness "What a beautiful face I have found in this place" but contrasting that he is reminded of mortality and how love can't last as death is our only real suitor "In a blink of an eye and be gone from me". For one of the few times on the record he name checks Anne Frank to further highlight his point, "Anne's ghost all around, Hear her voice as it's rolling and ringing through me" despite the certain end to any relationship he points out, "But for now we are young, Let us lay in the sun, And count every beautiful thing we can see"

'Two-Headed Boy' - Another tale of the ambiguity inside us all.

'The Fool' - Is the only song not penned by Mangum, it was written by Scott Spillane and works as an interlude. A sorrowful introduction to what's about to come.

'Holland, 1945' - Potentially the best track on the album but suffers a muddy mix. I'm all for distortion but I'm afraid the song suffers for this, its more then a distorted guitar sound. 'Holland' is far and away the hardest track on the album. It jumps from the gates and explodes into a sad tale of a families death just prior to the completion of hostilities in WWII. Firstly the girl "The only girl I've ever loved, Was born with roses in her eyes, But then they buried her alive, One evening 1945 With just her sister at her side, And only weeks before the guns, All came and rained on everyone" and later her family "Indentions in the sheets where their bodies once moved but don't move anymore, And it's so sad to see the world agree". Obviously inspired by the Anne Frank story.

'Communist Daughter' - 1945 has come and gone and the world is divided into the East and West, Mangum responds with 'Communist Daughter'. A moving analogy of the world coming to grips with its new order.

'Oh Comely' - Coming in at over 8 minutes 'Oh Comely' is the albums literary masterpiece. Its beauty is undisputed its meaning is the challenge. My best guess is it's contrasting the stories of the girls in 'Holland, 1945' and 'Communist Daughter'. Neither outcome is ideal but the mournful approach to 'Holland' character suggest the narrater preference for the 'Communist Daughter's "It isn't as pretty as you'd like to guess". Though eventually they will "We will fold and freeze together" in death. Of course the Communist Daughter's fate is more palatable then 'Hollands' - "And I know they buried her body with others, Her sister and mother and 500 families".

'Ghost' - This is another song that suffers from overly distorted guitar sounds. Mangum again references the 'Holland' character. "and she was born in a bottle-rocket 1929'. 1929 was the year of Anne Frank's birth. He goes onto say that the girl knows now that she will never die, a reference to the after life (or conversely that her legacy will live on via the power of words, the same power that inspired Mangum to write these lyrics) - "I know that she will live forever and she won't ever die". The fear that through the war was her one constant has now evaporated "and she goes and now she knows she'll never be afraid to watch the morning paper blow into a hole where noone can escape". The song then moves to NYC to a girl falling to her death from a 14th story burning building. She to "goes and now she knows she'll never be afraid". Perhaps he is talking of death as the great leveller, no matter who you are or the circumstance of death, it effects us all equally.

'[untitled]' - Bagpipes, horns and more, it sounds almost like an Irish wake tune. Instrumental.

'Two-Headed Boy Pt. 2' - The finale of a great record and to me the song that finally explains to us what it is Mangum was trying to achieve here. Through veiled images of life and death and his assumptions on their meaning he's attempted to create a unified piece, not just a collection of songs. In 'The King Of Carrot Flowers, Pt. 2-3' he famously bellows, "I love you Jesus Christ" but in this the album's closer he retorts that claim with "God is a place you will wait for the rest of your life". If I'm right he is talking not of a divine God but a secular one. God as a state of being that we should work on becoming. The despair he felt reading "The Diary of Anne Frank" has manifested itself with him not looking for a divine answer but rather a humanistic response. In other words the need for us to strive to be God like in the way we interact with the world. He's pleading with us to be the best people we can be during our time on Earth. Life is precious and our tenure on this Earth is far from assured so make the most of the time we have. To reinforce this I'll re quote from 'Aeroplane over the Sea' - "One day we will die, and our ashes will fly from the aeroplane over the sea, but for now we are young, let us lay in the sun and count every beautiful thing we can see."
In the linear notes printed above he offers a pretty big clue that this is the way he is thinking with the line - "this album is not based on any religion but more in the belief that all things seem to contain a white light within them that I see as eternal"

To be perfectly honest what I thought this album review would sound like before writing and the finished product are vastly different. It was the first time in a long time I had played 'Aeroplane' with the intensity required to decipher the lyrics. Even if I'm way off and what I've outlined above doesn't even resemble Jeff Mangum's take on the record its a credit to him that an interpretation such as this can be exhumed from his work.

The album has now sold in excess of 100 000 copies, the vast majority of those in the US. (To put that figure in perspective for Australian readers, gold record status in Australia is reached at 35 000 sales, in the US its 500 000.) Still it appears that fame and Jeff Mangum have not been friends. Since its release and subsequent tour he has virtually disappeared. Amongst Indie kids Jeff sightings are akin to Elvis sightings for many others. This record has been hugely influential, a lot more so then the sales indicate. The album has not been universally praised but reviewers who have 'got it' have often lauded it with the highest rating possible. I just did a quick google and here's what some reviewers said, Pitchfork Media , All Music Guide , Salon and Nude as the News
It seems highly unlikely that we will see another Neutral Milk Hotel record but fans should take solace in the fact that he left us with one of the more interesting pop records ever produced.

One performance that Jeff did do was in Auckland, New Zealand on 4/2/2001 he played with Laura Carter and the Flying Nun star Chris Knox (Don't you love it when you can link up post!). Knox was formerly in the Tall Dwarves before embarking on a successful solo career. He is perhaps best known for the song 'Not given Lightly'. This was Jeff's last public performance as a front man. They performed under the name the ‘World of Wild Beards’.

To download is :
1. A copy of the New Zealand show it consist of 95% NMH songs.
2. In the Aeroplane over the Sea - Neutral Milk Hotel
3. Not Given Lightly - Chris Knox (5mg mp3 single)

Video below is :
1. A few Jeff Mangum/NMH videos
2. 4 other Elephant 6 collective bands - Apples in Stereo, Circulatory System, Olivia Tremor Control & Elf Power.

In The Aeroplane Over The Sea

Live Auckland, NZ - Jeff Mangum, Laura Carter, Chris Knox performing as ‘World of Wild Beards’ 4/2/2001

Chris Knox - Not Given Lightly - Single


Neutral Milk Hotel - 'Song Against Sex' (live 1998) - from the studio album Avery Island



Jeff Mangum (solo) - 'In the Aeroplane over the Sea' (live - NYE, 1998) - from studio album In the Aeroplane over the Sea



Jeff Mangum (solo) - 'Holland, 1945' (live - 1998) - from studio album In the Aeroplane over the Sea



Apples in Stereo - 'Energy' - from New Magnetic Wonder - 2007 - (Directorial debut for Elijah Wood). - Robert Schneider vocals.



Circulatory System - 'Should a Cloud Replace a Compass?' - Circulatory System - 1999



Olivia Tremor Control - Another Set of Bees in the Museum - Black Foliage: Animation Music Volume 1 - 1999.



Elf Power - 'All the World is Waiting' - from Back to the Web - 2006.



Athens, GA
Neutral Milk Hotel
Elephant 6 Recording Company

Flying Nuns over Dunedin.

Dunedin is a smallish town of some 60 000 people on the bottom of New Zealand's South Island. As unlikely a location as it is, through the 1980s into the 1990s it was one of the most significant musical towns on the planet. A large majority of these bands were released on the Flying Nun label. Flying Nun was formed in 1981 by Roger Shepherd, like a lot of Indies it started in the back room of a small record store. It actually formed in Christchurch but quickly moved its focus to Dunedin. Though the idea of a Dunedin sound is often rejected by protagonist there is little doubt that there was common link joining them. Generally it was lofi pop with a heavy dash of Velvet Underground. Often the production quality of the recorded music was fairly poor also, there were exceptions to this, but it was a sticky point for a lot of theses acts getting any commercial success. The first single released by the label was by a band called, The Pin Group. The single was 'Ambivalence'. It was with the second release The Clean's 'Tally Ho' that helped the label really take off. 'Tally Ho' went top 10 in NZ, injecting an unexpected cash pool that allowed the label to expand earlier then anyone would of thought.


Some of the more significant acts on Flying Nun were : Tall Dwarfs (Chris Knox), The Clean (David Kilgour), The Chills, The Straightjacket Fits, Jean Paul Sartre Experience, Headless Chickens, The Gordons/Bailter Space, The Bats, Able Tasmans, Look Blue Go Purple and The Verlaines. For those not familiar with these acts a great place to start is a 2 cd compilation entitled 'In Love With These Times'. It gives a quick over view of the Flying Nun golden age.
Today I'm going to look at The Chills. In coming weeks I'll discuss more of the Flying Nun acts

The Chills formed in 1980 as a vehicle for Martin Phillips. Since forming they have had an unbelievable 20 lineup changes. Amongst the scene it was referred to as the curse of The Chills. Most weird about this is that Phillips was very much into the 'band concept' he certainly didn't wish for the revolving door. More then anything the lack of lineup stability was responsible for the stop/start nature of the Chills and the inexplicable lack of commercial success. My first exposure to the Chills was following the 1986 release 'Kaleidoscope World'. It was a collection of the early singles and other recorded material. Originally released as 10 track vinyl album it was reissued as an 18 track CD. It's a collection of some of the most significant Pop music ever written. Criminally unrecognised but to those 'in the know' one of the most important records in their collections. Wonderfully crafted pop with an often dark and sinister lyrical offering.

'Pink Frost' appears to tell the tale of a man murdering his partner and his inability to come to terms with what has transpired "I want to stop my crying, But she's lying there dying, How can I live when you see what I've done?" He explains how "I was dreaming - so I didn't heed her screaming" and that "Just the thought fills my heart with Pink Frost".
Doledrums succinctly describes the mundane and lonely existence of life on the dole. He explains his impression of the day to day impact, "Counting down lonely hours, Drinking lots and taking showers" and also explores some long term possibilities "I no longer dream about the rest of my years". Finally the cycle perpetuates "The benefits arrive and life goes on and on and on".
Perhaps the most poignant song on 'Kaleidoscope World' is 'I Love My Leather Jacket', its dedicated to former drummer Martyn Bull who succumbed to cancer a few years earlier. He left his leather jacket to Phillips. It represents "the only concrete link with an absent friend" and its "Both protector and reminder of mortality."

It was not till late in 1987 that Chills released their first real LP, 'Brave Words'. As with 'Kaleidoscope World' the production is rough but the songs are musically and lyrically sublime. The opening track is 'Push' a jangly but moody intro, stalking but not really threatening, an almost suggestive mood. Lyrically Phillips complains about being emotionally pushed around ""First you push me this way and then you push me that way." Interestingly there is an emphasis on 'S' creating a hissing sound. This is usually discouraged, record producers spend life times removing it from tracks. Phillips emphasises cleverly for effect.


'Look For The Good In Others and They'll See The Good In You' is perhaps my favourite song on the record, it raises the tempo a deal further then the Chills generally take us. Its the Chills punk rock homage and it works. 'Wet Blanket' has a real Sunday afternoon in the hammock feel, what that feel is hiding is an impassioned appeal to a would be love. "Well I'm not in love with anyone but I could fall in love with you" and "I have no patience for anyone but I have lots of time for you". Other highlights on the record are 'Dan Destiny And The Silver Dawn' and the title track 'Brave Words' ("I much rather go down fighting at least I could go with pride, I rather go trying to battle, battle the doubts inside")
'Brave Words' was greeted rapturously around the world. It was released by rough trade in the UK and Homestead in the US. It suffered at the hands of its production. Reviewers maybe able to see past poorly produced records, but radio programmers and mass audiences can't. Its a tragedy, I believe that of the 30+ songs spread over these two records there was a potential ten top 10 hits. Unfortunately they are hidden behind poor production.

'Submarine Bells' was released in 1990 it was the major label debut for The Chills, the previous year they signed a deal with slash/liberation for the world. It was a real turning point for the band and many felt betrayed by their leaving Flying Nun. It was recorded in London and in true Chills fashion the rhythm section had problems with their Visas and were denied entry. The bass player and drummer from XTC were drafted into help with the recording.The record finally showed The Chills for what they could be. The production was crisp and the songs strong. It was by far their most commercially successful outing. A case can be argued that the song writing wasn't as strong as either 'Brave Words' or the collection of songs on 'Kaleidoscope World'. It certainly isn't as consistent.

However the 5 or 6 songs on this album that are of Phillips' normal high benchmark shine with the aid of improved production. As is the case with Sonic Youth's early records there are times when poor production can work as a tool to enhance the product. I think this holds true for a number of the Chills early singles. However that it continued onto Brave Words was a mistake. The other way to look at 'Submarine Bells' is as a major label debut and as such Phillips had sales in mind, he can't be accused of hiding his intentions with the lead single being 'Heavenly Pop Hit' (if this was the case.) The world would be a lot better place if every charting pop song sounded like 'Heavenly Pop Hit'. Its a beautiful track, what's odd is its so obviously uplifting, not normal Chills fair. This isn't exactly true The Chills' catalogue is filled with uplifting, optimistic tracks. 'Kaleidoscope World' there first single is an example. This is different maybe the production makes it seem to much, I'm not criticising, as I said its a great track, there is just something about it that spells a huge change for the Chills. The album certainly isn't devoid of Phillips bleakness - 'Familiarity Breeds Contempt' and 'Tied Up In Chain' are a couple of examples that his dark cynicism is still alive and well. 'Submarine Bells' the title track concludes the album. Its a mournful organ driven ballad, its almost impossible to hear without a wash of melancholy enveloping every pore of your body. Its beautifully sad. "Deep and dark my Submarine bells, rolling greens and grey, my mood chimes a thousand times to make you feel ok, k, k, ok"...wonderful!

In 1992 The Chills released their final album 'Soft Bomb'. To be honest I haven't heard it for 15 years. I remember that on release I didn't get it, its the one album of the first Chills I don't own. Reviewing it here is therefore very difficult - I have trouble remembering 15 minutes ago, let alone an album I heard 15 years ago.
Martin Phillips disbanded the Chills on the US leg of the Soft Bomb tour in 1992. Last year he put a version of the Chills together and recorded a new album Sunburnt. (continuing the S.B. title that ran through the last 3 albums). Reviews have been mixed and its availability in Australia is sketchy so I'm still to hear it.

The 1990s and into this decade were not kind to Martin. He battled a serious drug and health (Hep C) problems and to many he seemed lost. A few years ago when stories of an arrest for shoplifting made their way to the media most felt it justified their theory. Phillips to his credit used it as motivation to sort himself out. After a decade (+) of dancing with his demons he must be commended for his resolve. I only wish that the success that so wrongfully alluded him the first time around is handed to him in spades this time.

The Chills are considered widely influential amongst indie pop bands of today. Peter, Bjorn and John on their album of last year 'Writer's Block' have a song entitled 'Chills" a homage to Phillips & co. Fellow Swedes I'm from Barcelona are also huge fans of the band, openly singing their praise in interviews and via messages on their website.

The first 3 records for download and videos stretching the first three records for your viewing pleasure.

Kaleidoscope World

Brave Words

Submarine Bells


Pink Frost from 'Kaleidoscope World'



Love my Leather Jacket from 'Kaleidoscope World'



Look For The Good In Others And They'll See The Good In You (Live 1988) from studio album 'Brave Words'



Heavenly Pop Hit from 'Submarine Bells'



Flying Nun
The Chills

REM : Green Tours and Bad Food, 1989!

In 1989 there were two things I was sure of, REM were the best band on the planet and the Gobs the best in Australia and a definite member of any top 5 international list I might produce. (I was young and Dylan was yet to re emerge...give me a break!!). I was probably as fanatical about REM as one could be (bit like I am with Bobby Dylan now). I remember the day 'Green' was released I rang every store in Brisbane looking for someone who had a copy. Eventually Toombul Music (about a 20 minutes drive) told me that they had just arrived in stock. I ran to my car and drove as fast as I could to get there. I remember walking up to the counter making the purchase and the shop assistant asking me what was wrong, I had tears rolling down my face. I was THAT into them. Michael Stipe was God on Earth to me. I remember in Gr.9 & 10 I went through the semi obligatory 15 year old male Doors period. It was amazing how juvenile Michael Stipe made Jim Morrison appear. Anyway when I found out that finally on record #6 (Green) REM were going to tour Australia (with the Gobs supporting!!) I knew I had to do what I had to do to meet them. I was very much in my infancy with working with bands but I had worked with them long enough to know that all bands got a rider. Turns out that bigger bands got food riders as well, but I was only just figuring that out. I decided that I needed to use this 'crucial' inside info to give myself a leg up in my plans to meet my heroes. I settled on a plan to apply as the caterer for the gig. Just under cut every other quote and I was a shoe in.

A copy of the Green World tour program.


Amazingly the first half of the plan worked and I was given the job as the caterer. I would be backstage serving drinks and preparing and serving food for REM! (not to mention the Go-Betweens). Problem, I (still to this day) can't cook. No worries I thought as I schemed further, I'll just collect the menus from restaurants in the area and let the band and crew decided what it is they want. I'll then order the food, pick it up (maybe even have it delivered) and serve it as if I had made it. Anyway finally the night arrived and all good plans... Turns out I wasn't the only person in Brisbane excited about seeing REM. Festival Hall was buzzing with an anticipation I have never since experienced. REM were the greatest band of the 80s and amazingly up until this tour they were still our secret (all be it a big one). Mainstream success with the exception of the 'One I Love', from Document, had still alluded them and we loved them even more for it.

REM made a documentary of the US leg on the Green tour, imaginatively entitled 'Tour Film'


All I had to do to have my dream of meeting them realised was pull off this catering gig, how hard could it be? Ahh famous last words. Suffice to say my meticulously devised plan was a DISASTER! I blame the restaurants. Really why couldn't 5 different restaurants, with 5 different food types co ordinate how long their food take to prepare!!
Every meal I served was cold. Being cold, it got greasy and grease and paper plates don't go well together. To their credit REM were very gracious, Peter Buck even humorous, about the quality of food I delivered. I really can't explain how bad it was. I was picking up one meal at say an Indian restaurant it was five minutes late, which meant I had to run to the Italian restaurant, while running the food I was carrying got tossed around and messed up (1/2 of it ending up in the bag), I'd arrive at the Italian restaurant only to work out that the order had come out 5 minutes early and had been sitting for 10 minutes. It goes on and on and on.
The band may have been gracious but the promoter was far from it. It was fair enough I suppose I was employed by his company and I was making his company look like dicks in front of REM.(After all you didn't need to be a genius to figure out that REM were about to be a very, very big band) What was over the top was what happened next. He was pissed, seriously pissed off. To this day I don't think I've been yelled at with the same ferocity (once again fair enough I fucked up - but hey I meet REM!). The Gobs had just finished (a set I missed 3/4 of due to my getting abused) and this promoter walked from abusing me side of stage, up the stage stairs, across the stage, grabbed the microphone and said "Good on ya Brisbane you Fucked Up!!". The anticipation and excitement in the audience disappeared almost before the words escaped his mouth. You could not only hear the groan but feel it as well. I could of cried, I was so bummed. I felt responsible for destroying everybody's REM experience, the band we had all longed for. Thankfully Berry, Buck, Mills and Stipe had more influence then me and the crowd quickly recovered when they begun their set, but I honestly felt that everyone's night had been ruined. (and this was no ordinary night out!) It truly was a heart breaking 15 minutes. Its funny over the years I've had a lot to do with this promoter but I've never told him that I was the same guy that 'fucked up' in 1989 at Festival Hall. I must remember to tell him next time I see him, it has been almost 20 years after all!
For the record REM loved the Gobs so much they took them on the rest of the world tour.
So it turns out that after the gig finished at 11pm I went out with REM and the Gobs until 6am. I sat down 1 on 1 with Michael Stipe for 2-3 hours drinking $50 bottles of red wine. Worth every 'F&*king C%^t' that had been hurled at me. For what its worth I was disappointed with the show. I felt it lacked heart. I went down and saw them 2 more times at the Horden Pavilion in Sydney and was flabbergasted to see that the set was completely choreographed. I understand now that every band that plays the same show every night for a year is going to start performing shows that look pretty similar. Not with standing this I did expect more then exactly the same between songs banter. I saw 'em again in '92, by this time they were a definite contender for the biggest band in world. Obviously it was a lot bigger room - the Entertainment Centre - 2 nights sold out from memory, anyway I thought the shows were a lot better in '92. They were a band at ease with being big, whereas in '89 they were still getting use to playing 4000 seaters and to compensate for the lack of intimacy they prepared and delivered a 'show'.
Luckily Australia has more then one promoter as that wasn't the end of my catering career, I did one more show, Iggy Pop, about 6 months later. (It was Iggy!!) Anyway I'll save that story for another day. Weirdly years later my wife (who I was a few months off meeting at this stage) ran a successful catering company specialising in backstage setups. (...i laughed anyway)
So what reminded me of this story was a bootleg I have of REM performing at the legendary 40 Watt club in their hometown of Athens, Georgia. The show was on May 20th, 1988, a good 6 months before Green was released in Nov/Dec '88. The band were obviously road testing new material for the album. They played un announced under the name of 'Toast'. First band on. It includes the strangest version of 'The One I love' ever performed. I love it. Of the 6 songs in this short set 4 were to appear on Green. The 40 Watt club was the venue of many of their hometown triumphs.
An amazing town Athens it has a population of 100k (for Australians that the size of Toowoomba) and REM, B52s, Indigo Girls, Matthew Sweet, Elephant 6 collective is based there (Including the wonderful Neutral Milk Hotel) to name a few. Dunedin in New Zealand's south island (population 50k) matched it for a while in the late 80s. Both are University based towns, which seems the common link. Athens, GA though has managed to keep pumping them out for close on 30 years now. Truly remarkable.
Both towns will be the subject of future blogs.

For your pleasure : REM live at the 40 Watt Club, 5/20/88.

This is a great version of "Radio Free Europe", REM making their national television debut on Lettermen, in 1983. They blow it apart, awesome!



Athens, GA
R.E.M.

Bass Players of the World Unite - Redd Kross vrs The White Stripes

Back in 2001 I was convinced the White Stripes had been sent to save Rock'n'Roll. The first 3 records rocked harder then other two piece had rocked before. Garage blues with attitude. They are a package great image and videos as well. The White Stripes are Jack White (guitars, vox) and his exwife and/or sister Meg White on drums. 2001's album 'White Blood Cells' was for me their creative peak (thus far).

'Dead Leaves And The Dirty Ground' opens the record, full of attitude, it proclaims the records intention from the get go. 'Hotel Yorba' introduces a slight country twing, pushed along by a distinct Meg beat, its probably my favourite song on the record. Of course 'Fell in Love with a Girl', the first single' is rock classic. It goes on, 16 tracks of 'real' rock'n'roll!

Redd Kross were formed in 1980 by teenage brothers Jeff and Steve McDonald. Its been said that Redd Kross's biggest influence was Saturday morning cartoons and breakfast cereal. They had a love of all things pop culture and of the three chords. Musically they developed and by the time 'Phaseshifter' was released in 1993 they had included a strong 60s psychedelic sound to their music. I saw them at this time playing at Festival Hall in Brisbane. From memory they supported Sonic Youth. They were loads of fun.
So what do the White Stripes and Redd Kross have in common I hear you say...In late 2002 following the release of 'White Blood Cells' in 2001 the worlds most famous bass less band was given a bass fuelled over hall courtesy of Steven McDonald. It was web based free release done with the White Stripes blessing. A deal was struck where they allowed 60 000 downloads. Though its occasionally appears on Torrent sites its relatively rare. He even re did the cover, photoshopping himself into the cover art.


As for the record, its great...subtle in parts, but the bass really offers a lot to the songs. Tougher is one description that springs to mind. This may seem sacrileges to diehard White Stripes' fans but I have problems listening to the original version now. It always fells like something is missing. Anyway enjoy.
Speaking of the White Stripes they have a new record on the way, their first since the disappointing 'Get Behind Me Satan'. It was a predicatable and tame record in comparison to their previous efforts. I'm yet to here the record but the single 'Icky Thump' is a welcome return to form. The single is available for download below.
I've also included 2 sons off Redd Kross's 'Phaseshifter' - 'Lady In the Front Row' and 'Jimmy's Fanatsy'. I actually can't find the CD and I only have these two songs on my harddrive. I'll post the full album (its worth it) when the disc shows up. They played live on July 1st for the first time on over a decade. A great very under appreciated band.

Redd Blood Cells Disc 1

Redd Blood Cells Disc 2

White Stripes - Icky Thump

Redd Kross - Lady in Front Row

Redd Kross - Jimmy's Fanatsy

And lastly Michael Gondry's ('Eternal Sunshine of the Spotless Mind') clip for 'Fell in Love with a Girl' - it's one of my fav clips ...from 2002.



White Stripes
Redd Kross

Saint Julian pray for us....

Julian Cope is a true genius of post punk England, he is also one of its oddest characters.
In the late 70s Julian attended University in Liverpool it was there he meet a number of like minded students riding the creative wave of the post punk/new wave movement. Ian McCulloch (Echo and The Bunnymen), Pete Burns (Dead or Alive), and Pete Wylie (The Mighty Wah!) were part of the crowd. In fact Ian McCulloch was in an early incarnation of the Teardrop Explodes, the band that Cope found fame with in the late 70s and early 80s. They were one of the most important bands in the flourishing post punk/new wave scene. They released two great records, Kilamanjaro in 1980 and and Wilder in 1981. Julian was said to be difficult, even dictatorial and incredibly hard to work with. The Church's Steve Kilbey recounts meeting the Teardrop Explodes just before they disbanded in late 1982. He tells a story of an out of it and ranting Cope and a band who openly despised their singer.
Julian spent 1983 recording his wonderful debut record, 'World Shut Your Mouth'. Its a mixture of orchestral pop and psychedelic meanderings. Cope's writing was clearly a more intelligent alternative then many of his contemporaries. This was not necessarily advantageous to selling records, however it made for great pop songs. 'Sunshine Playroom, Head Hang Low and Greatness And Perfection Of Love' are beautiful tracks.
The record came out in early 1984 and Julian celebrated with hallucinogenics, a lot of 'em. He spent 1984 tripping and locked inside in a room playing with his toy car collection. The collection was said to be so large that it needed an entire room to house it. It was matched only by Julian's desire to consume. His musical response to the lost year was a chillingly dark work which remained juxtaposed by Cope's innate sense of melody. After the year he was emerging from 'Fried' seemed a fitting title. The cover art was equally symbolic (and disturbing) Julian naked, covered by a turtle shell while playing with a toy delivery van.

The record's only single 'Sunspots' is bouncy and immediate, an unforgettable love song. A misleading introduction to the a record whose darker messages are never very far away from the surface. 'Bill Drummond Said' is a reference to the manager of the Teardrop Explodes (he also managed the Bunnymen). Drummond seems to be a character to rival Cope. He had played in bands prior to management and in the mid 80s returned to performing. His first single was actually backed by the Triffids (weird huh...small world!!). Shortly after in response to Cope's song he wrote 'Julian Cope Is Dead' a song encouraging Julian to kill himself in order to sell more records. Drummond ended up forming the KLF and the The Justified Ancients of Mu Mu.
'The Bloody Assizes' is a a plea against the death penalty. 'Reynard The Fox' is perhaps the most complete Cope song ever. It opens 'Fried'. By the end of the second chorus your singing along, its a classic Julian, challenging, engaging and rockin' but then Julian flips us, not once, not twice but for the next hour. The last minute of this song is a Julian 'don't take the brown acid' moment. A great song. A frightening conclusion, the monologue that comes in over a bass/drum beat builds in intensity. Lightning strike guitar chords are inserted and the chorus you were gleefully singing along to in what seems like another life time eerily moans in the background. It builds slowly till climax. Julian's narrative is at the front, angry and with an obvious evil its erupts and ends with the protagonist suicide 'He spills his guts all over the stairs!
'Fried' is a great record at least the equal of 'Shut your Mouth'. Many critics go with 'Fried' as the best of the two. I suppose as a study into man's resilience and an understanding of what Julian's year was like then you would have to go with 'Fried'. But as far as an emotional response to music goes then its 'Shut Your Mouth'. (Today anyway)
'Saint Julian' was released in 1986, its the rock'n'roll response and it really delivers. The lead singles 'World Shut Your Mouth' (only Julian would name a the lead single after an album only two years old) and 'Trampoline' were both top 20 hits in the UK and abroad. I can't find any hard sales/chart positions in Australia but I remember seeing both the videos on the popular video shows of the day and hearing them on commercial radio. (Hello I'm Julian and I'm a RockStar!!!)
Saint Julian deserved its success and more besides. The guitars get turned up and it rocks relentlessly, Cope's beautiful vocal the calming element. I read someone compare the intensity of the band's performance to Bowies on Spiders, its as close a comparison as any.
Disaster was around the corner however in the form of the upcoming record, 'My Nation Underground'. Cope claimed that management had forced him to record something that didn't represent his artistic intentions. It is a disappointing record, it should of been the record that capitalised on the momentum of 'St Julian' both in commercial and artistic terms. I remember buying it on release, a good record will always have a mixture of hit you and growers, the overwhelming response to My Nation Underground was blah, it was Ok just a little dull.
Julian slipped into the studio on a weekend during the recording of 'Nation Underground' and recorded his next album 'Skellington'. A war begun between Cope's Management/The record company and Cope. The "Greedheads" as Cope refereed to them refused to release 'Skellington' and Cope refused to further record while his past efforts were left unreleased. It was a trend that would continue until Julian turned his back on the establishment and went it alone. He returned to a major (Island) to release 'Peggy Suicide' and 'Jehovahkill' in the early 90s but as before it ended poorly. He is still making music today although it rarely reaches the colonies. In fact the 2000s have seen the release of 8 records all reviewed with enthusiasm by the English media.
Julian has also been publishing books over varying topics but all are connected by critical success and significant sales.
'Head On' was his first auto biographical effort it covered the period from 1976-82, the period prior to and during the life of The Teardrop Explodes. A 2nd was released later Possessed it covered the years I have discussed here 1983-89. In 2000 the two books were published as a single piece Head-On/Possessed. Critics have referred to it as the best non fiction account of the period. Media reports last week indicated that the movie rights have been secured and a film is o the way. (who will play Julian?)
Cope also has a huge interest in Krautrock and has written what many see as the definitive book on the genre, Krautrocksampler. Mojo wrote of it ""Brilliantly researched, Krautrocksampler abounds with revelations, and Cope's enthusiasm verges on the lethal ... a sort of lysergic" Julian's top 50 Krautrock records can be seen here.
He is presently putting together a Japanese version, 'Japrocksampler: How the Post-war Japanese Blew Their Minds on Rock 'n' Roll'. Its due for release this September.
Cope also proves himself to be the world's hippest archaeologist with his acclaimed The Modern Antiquarian (1998). It looks at ancient monuments and stone circles within Britain. Its release was accompanied by a 2 part BBC documentary.
In 2004 he did a more extensive study into European monuments in 'The Megalithic European'.

Julian Cope is a genius, flawed and eccentric, but one can't argue the results. He chooses to set himself up outside of the mainstream and work away on its fringes. His work ethic is enormous, since 2000 he's produced 8 records and written two books. Though a fear of flying keeps his touring to Europe he still plays regularly - In fact he's touring the UK as I type this. He is deeply polarising, both musically and as an individual. I'm a fan of his music but can see others frustration with some of it. Beautiful love songs to evil suicide rants in within the space of 2 songs is a challenge to some. I think its what makes him who he is and its what makes him great. You can't be a fan of the classic rock/pop song and not find something in his music. As an individual I've never had the pleasure but would be fascinated by the opportunity. I've got no problem with people making their own decisions about drugs but I do have an issue with those who glorify them. That being said taking acid in a room with a bunch of toy cars for a year is a fuckin' achievement!
The bottom line...He's JULIAN.

To download below : World Shut Your Mouth (1984), Fried (1986), Floored Genius 2 Best Of The BBC Sessions 1983-1991 Disc 1&2
Videos below from various stages of Julian Cope and the Teardrop Explodes.

World Shut Your Mouth

Fried

Floored Genius 2 Best Of The BBC Sessions 1983-1991 Disc 1

Floored Genius 2 Best Of The BBC Sessions 1983-1991 Disc 2

Teardrop Explodes - Ha Ha, I'm Drowning, from 1980's Kilimanjaro



Teardrop Explodes - Passionate Friend, from 1981's Wilder



Julian Cope - World Shut Your Mouth, from 1987's Saint Julian



Julian Cope - Beautiful Love, from Peggy Suicide.



Julian Cope, 'Sunspots', live in London, February 2006






Teardrop Explodes
Julian Cope

Kurt loves his Docs..

Kurt love's his Docs....

If the Go-Betweens were 'the should of been's', Nirvana were the 'how the fuck did that happen' band. I say that as a big fan. As chronicled in Thurston Moore's doco '1991 the year that punk broke' no one, least of all the band themselves expected that their second album would go on to sell 11 million+ records. Of course everyone knows how it ended, On April 5th, 1994, Kurt opted out, leaving Gen Xs the world over stunned and saddened.
Doc Martins have decided to reincarnate Kurt (along with a bunch of other dead punk rock royalty) in a new ad campaign.




At least Kurt's not lonely, he's with Joe....



Joey.....



And Sid.....




Angel's the lot of 'em!! Its pretty funny really but its got a lot of noses out of joint, not the least of which is the considerable snoz of Courtney Love. Her representative said: "Courtney had no idea this was taking place and would never have approved it. She thinks it's outrageous that a company is allowed to commercially gain from such a despicable use of her husband's picture." Doc Martin's have apologised and sacked the ad agency. I can see how some may find it a little offensive, but hey its the most publicity that Docs have had for a while. Besides judging by this recent shot of Ms. Love I think she has other things to worry about...Is that really Courtney??





and OUCH!!!!!





Mickey Leigh, Joey Ramone's brother wasn't impressed either : "Obviously, we are in the same position as Courtney Love, as well as the estates of the others depicted (in the ad). We were never consulted about this ad. We were never asked for permission to use Joey's image, or paid for the use of it. As executor of my brother's estate I never would have approved this ad as Joey never wore these shoes. And, not that my brother was terribly religious, but the fact that he was Jewish, and this ad is not exactly kosher, makes it that much more inappropriate, inconsiderate and contemptible."


Anyway back to Nirvana, six weeks before Kurt showed the world how much he loved shotguns he attempted the tried and true method - overdosing. Turns out the bottle of Rohypnol and a bunch of champagne wasn't enough to do the trick and paramedics were able to save him. At the time Nirvana were on tour in Italy. A couple of days before the suicide attempt they played a show in Rome a recording of which follows. It's a sound board recording and the quality is surprisingly good. Perhaps most startling is Kurt's on stage banter, he seems almost jovial. His last words on stage were "Thankyou, I'm a Rockstar..."

Nirvana Live in Rome, 22/2/1994. Disc 1

Nirvana Live in Rome, 22/2/1994. Disc 2

Nirvana
Doc Martins