Day 24. It was a toss up between their version of The Kinks’ classic Everybody’s Gonna Be Happy & this, their cover of the ’80’s Post-Punk/New Wave classic Never Say Never by Romeo Void.
Queens Of The Stone Age imbue the Post-Punk rhythms with a hard Rock muscularity that a) makes the song rock harder than the original & b) adds a layer of sleaziness which the original doesn’t quite match. In fact I’d argue the original has a sense of wide-eyed innocence which Josh Homme’s fuzz-laden lead guitar steamrolls right over. A great cover of a great song.
If time itself was his demeanor There’d be no sunlight or a glimmer Of sunlight landin’ on the street Some say girls must be discreet Some say girls must be discreet Nursing their fathers locked inside They masqueraded as his bride
I might like you better If we slept together I might like you better If we slept together I might like you better If we slept together But there’s somethin’ In your eyes that says Maybe that’s never Never say never
They slump by the courthouse with windburn skin That man could give a fuck About the grin on your face As you walk by, randy as a goat He’s sleepin’ on papers But he’d be warm in your coat
I might like you better If we slept together I might like you better If we slept together I might like you better If we slept together But there’s somethin’ In your eyes that says Maybe that’s never Never say never
There’s no easy way to lose your sight On the street, on the stairs Who’s on your flight Old couple walks by, as ugly as sin But he’s got her, she’s got him
I might like you better If we slept together I might like you better If we slept together I might like you better If we slept together I might like you better If we slept together I might like you better If we slept together But there’s somethin’ In your eyes that says Maybe that’s never Never say never
I might like you better If we slept together I might like you better If we slept together I might like you better If we slept together
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Day 10. I’ve written a fair bit about Manic Street Preachers lately & will probably write more in the future. They’re one of my favourite bands from when I was a teenager & I’ve recently started listening to them a bit more again.
Their version of the theme tune from the classic Korean War drama M*A*S*H was recorded for a double a-side single with Fatima Mansions (who’s contribution was a cover of Bryan Adams’ (Everything I Do) I Do It For You. The single was a charity single with proceeds going to The Spastic Society (since renamed SCOPE).
Through early morning fog I see Visions of the things to be The pains that are withheld for me I realise and I can see
That suicide is painless It brings on many changes And I can take or leave it if I please
The game of life is hard to play I’m gonna lose it anyway The losing card I’ll someday lay So this is all I have to say
Suicide is painless It brings on many changes And I can take or leave it if I please
The sword of time will pierce our skins It doesn’t hurt when it begins But as it works its way on in The pain grows stronger, watch it grin
Suicide is painless It brings on many changes And I can take or leave it if I please
A brave man once requested me To answer questions that are key Is it to be or not to be And I replied oh why ask me?
Suicide is painless It brings on many changes And I can take or leave it if I please
And you can do the same thing if you please
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Day 30. The link today is actually the recording studio. Yesterdays Pearl Jam tune & Them Bones by Alice In Chains were both recorded at London Bridge Studios in Seattle.
Them Bones is downtempo Grunge done to perfection. Atmospheric, Black Sabbath riffs, driving rhythms & fantastic vocal harmonies combine to create an oppressive & expressive atmosphere. For me personally, Them Bones takes me right back to Grand Theft Auto: San Andreas. It’s inclusive on the rock stations fairly short playlist ensuring that I’ve probably heard it hundreds, if not thousands, of times in that particular setting.
I believe them bones are me Some say we’re born into the grave I feel so alone Gonna end up a big ole pile a them bones
Dust rise right on over my time Empty fossil of the new scene I feel so alone Gonna wind up a big ole pile a them bones Toll due bad dream come true I lie dead gone under red sky I feel so alone, Gonna end up a big ole pile a them
I feel so alone Gonna end up a big ole pile a them I feel so alone Gonna end up a big ole pile a them bones
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Day 29. From a song about an American teenager opening fire on her school to a song about another kind of American school shooting. Jeremy is about a 15 year old boy, Jeremy Delle, who committed suicide in front of his English class by self inflicted gunshot wound to the head. Interestingly, the same set of circumstances seemed to contribute to Delle’s suicide as many more famous school shootings. Chiefly that Delle, like many school shooters, was mercilessly bullied by his classmates.
Pearl Jam wrote Jeremy in a bid to increase awareness of gun violence (specifically in schools), teen suicide & the dangers of unchecked bullying. As the description to the YouTube video states, “the themes of Jeremy highlighted by Pearl Jam in 1991, have sadly only become more relevant in the intervening 30 years as gun deaths continue to increase.”
At home drawing pictures Of mountain tops With him on top Lemon yellow sun Arms raised in a V
Dead lay in pools of maroon below Daddy didn’t give attention Oh, to the fact that mommy didn’t care King Jeremy the wicked Oh, ruled his world
Jeremy spoke in class today Jeremy spoke in class today Clearly I remember Pickin’ on the boy
Seemed a harmless little fuck But we unleashed the lion Gnashed his teeth and bit the recessed lady’s breast
How could I forget And he hit me with a surprise left My jaw left hurting
Dropped wide open Just like the day Oh like the day I heard Daddy didn’t give affection
And the boy was something that mommy wouldn’t wear King Jeremy the wicked Ruled his world
Jeremy spoke in class today Jeremy spoke in class today Jeremy spoke in class today
Try to forget this (try to forget this) Try to erase this (try to erase this) From the blackboard
Jeremy spoke in class today Jeremy spoke in class today Jeremy spoke in Spoke in Jeremy spoke in Spoke in Jeremy spoke in class today
Uh uh uh uh (spoke in, spoke in, spoke in) (Spoke in) Uh uh uh uh (spoke in, spoke in, spoke in) Whoa oh (spoke in) (Spoke in, spoke in) Whoa oh (spoke in) Whoa oh (spoke in, spoke in, spoke in) Ah ah ah yeah Ah ah ah ah (spoke in, spoke in, spoke in) Yeah yeah ah ah ah (spoke in, spoke in, spoke in) Ah ah ah ah ah
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Day 27. From a song called Tourniquet yesterday to the only other song I could think of that used the word Tourniquet in it’s lyrics (I’m sure there’s more but my mind is blank).
Luckily, One Of My Turns from The Wall is a great tune. The slow burning synth drones of the opening are so lush & thick. They take me back to a certain time in my life when I first heard The Wall. The movie, I think. & the explosive drop before the loud section is a huge shock. I wish musicians (in the mainstream, at least) still played with dynamics like that. Great tune. & an intense section of the movie.
“Oh my God! What a fabulous room! Are all these your guitars? “I’m sorry sir, I didn’t mean to startle you!” “This place is bigger than our apartment!” “Let me know when you’re entering a room” “Yes sir!” “Um, Can I get a drink of water?” “I was wondering about” “You want some, huh?” “Yes” “Oh wow, look at this tub? Do you want to take bath?” “I’ll have to find out from Mrs. Bancroft what time she wants to meet us, for her main…” “What are watching?” “If you’ll just let me know as soon as you can … Mrs Bancroft” “Mrs Bancroft…” “Hello?” “I don’t understand” “Are you feeling okay?”
Day after day, love turns grey Like the skin of a dying man. And night after night, we pretend its all right But I have grown older and You have grown colder and Nothing is very much fun any more. And I can feel one of my turns coming on. I feel cold as a razor blade, Tight as a tourniquet, Dry as a funeral drum.
Run to the bedroom, In the suitcase on the left You’ll find my favorite axe. Don’t look so frightened This is just a passing phase, One of my bad days. Would you like to watch T.V.? Or get between the sheets? Or contemplate the silent freeway? Would you like something to eat? Would you like to learn to fly? Would’ya? Would you like to see me try?
Would you like to call the cops? Do you think it’s time I stopped? Why are you running away?
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Day 25. A bit of an obvious one today, but a good one. From a Nine Inch Nails mix of a Bowie song to one of my favourite Nine Inch Nails songs.
We’re In This Together was the lead single from the bands excellent 1999 album The Fragile. Precision production, industrial percussion & some of the nastiest Noise Rock guitar ever committed to tape ProTools combine to create a huge single. Aa creeping sense of dread grows throughout the songs verses before exploding into the fury of the loud, angry, & somehow optimistic, chorus.
I’ve become impossible holding on to when When everything seemed to matter more The two of us All used and beaten up Watching fate as it flow down the path we Have chose
You and me We’re in this together now None of them can stop us now We will make it through somehow You and me If the world should break in two Until the very end of me Until the very end of you
Awake to the sound as they peel apart the skin They pick and they pull Trying to get their fingers in Well they’ve got to kill what we’ve found Well they’ve got to hate what we fear Well they’ve got to make it go away Well they’ve got to make it disappear
The farther I fall I’m beside you As lost as I get I will find you The deeper the wound I’m inside you For ever and ever I’m a part of
You and me We’re in this together now None of them can stop us now We will make it through somehow You and me If the world should break in two Until the very end of me Until the very end of you All that we were is gone we have to hold on All that we were is gone we have to hold on When all our hope is gone we have to hold on All that we were is gone but we can hold on
You and me We’re in this together now None of them can stop us now We will make it through somehow You and me Even after everything You’re the queen and I’m the king Nothing else means anything
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Day 24. From songs produced by David Bowie (Lou Reed’s Perfect Day & Mott The Hoople’s All The Young Dudes) for the last two days to a David Bowie song produced by another artist. In this case it’s the V1 mix of I’m Afraid Of American’s, produced by Nine Inch Nail’s polymath Trent Reznor. Although not the original version, this mix surpassed the album version in popularity (partly due to the video, one would assume) & is even included on many ‘best of’ albums.
I’m Afraid Of Americans already shared some major characteristics with Nine Inch Nails. Bowie was, after all, heavily influenced by them in this period. Trent Reznor transforms it into a behemoth of punishing Industrial Noise Rock. Check out the video below.
Johnny’s in America, no tax at the wheel Ah-ah-ah, ah-ah, ah-ah, ah-ah-ah No-one needs anyone, they don’t even just pretend Ah-ah-ah, ah-ah, ah-ah Johnny’s in America
I’m afraid of Americans I’m afraid of the world I’m afraid I can’t help it I’m afraid I can’t I’m afraid of Americans I’m afraid of the world I’m afraid I can’t help it I’m afraid I can’t I’m afraid of Americans
Johnny’s in America Ah-ah-ah, ah-ah, ah-ah, ah-ah-ah Johnny wants a brain, Johnny wants to suck on a coke Johnny wants a woman, Johnny wants to think of a joke Ah-ah-ah, ah-ah, ah-ah, ah-ah-ah Johnny’s in America (ah-ah-ah, ah-ah, ah-ah, ah-ah-ah)
I’m afraid of Americans I’m afraid of the world I’m afraid I can’t help it I’m afraid I can’t I’m afraid of Americans I’m afraid of the world I’m afraid I can’t help it I’m afraid I can’t I’m afraid of Americans
Johnny’s in America, Johnny looks up at the stars Johnny combs his hair and Johnny wants pussy in cars Johnny’s in America (ah-ah-ah, ah-ah, ah-ah, ah-ah-ah) Johnny’s in America (ah-ah-ah, ah-ah, ah-ah, ah-ah-ah)
I’m afraid of Americans I’m afraid of the world I’m afraid I can’t help it I’m afraid I can’t I’m afraid of Americans I’m afraid of the world I’m afraid I can’t help it I’m afraid I can’t I’m afraid of Americans
God is an American God is an American (Ah-ah-ah, ah-ah, ah-ah, ah-ah-ah)
I’m afraid of Americans I’m afraid of the world I’m afraid I can’t help it I’m afraid I can’t I’m afraid of Americans I’m afraid of the world I’m afraid I can’t help it I’m afraid I can’t
Yeah I’m afraid of Americans I’m afraid of the world I’m afraid I can’t help it I’m afraid I can’t I’m afraid of Americans
Johnny’s an American Johnny’s an American Johnny’s an American Johnny’s an American Johnny’s an American
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Day 23. I’m assuming that most people who may be reading this post will be able to pick out the link between Perfect Day & All The Young Dudes from miles away. That’s right. Perfect Day is take from Lou Reed’s excellent album Transformer, which, as I’m sure you’re aware, was produced by none other than David Bowie. All The Yung Dudes by Mott The Hoople is also produced by David Bowie. Unlike Perfect Day, however, Bowie actually wrote All The Young Dudes. Legend has it that Mott The Hoople asked Bowie for Drive-In Saturday, but he liked it too much & decided to give them All The Young Dudes instead. An excellent Bowie version is also available.
All The Young dudes is a fairly typical Glam-era Bowie tune, with a swaggering & androgynous vibe, amazing guitar work (Bowie & the legendary Mick Ronson both play on it) & lyrics about feeling different & taking solace in your generation’s art. NME described it as “one of that rare breed: rock songs which hymn the solidarity of the disaffected without distress or sentimentality”.
Well, Billy rapped all night about his suicide How he’d kick it in the head when he was twenty-five Speed jive, don’t want to stay alive When you’re twenty-five And Wendy’s stealing clothes from Marks & Sparks And Freddy’s got spots from ripping off the stars from his face Funky little boat race Television man is crazy saying we’re juvenile delinquent wrecks Oh, man, I need TV when I’ve got T.Rex Oh brother, you guessed I’m a dude, dad
All the young dudes (hey dudes!) Carry the news (where are you?) Boogaloo dudes (stand up, come on) Carry the news All the young dudes (I want to hear you) Carry the news (I want to see you) Boogaloo dudes (I want to talk to you, all of you) Carry the news (now)
Lucy looks sweet ’cause he dresses like a queen But he can kick like a mule, it’s a real mean team But we can love Oh yes, we can love And my brother’s back at home with his Beatles and his Stones We never got it off on that revolution stuff What a drag, too many snags Now I’ve drunk a lot of wine and I’m feeling fine Got to race some cat to bed Oh, is that concrete all around Or is it in my head? Yeah I’m a dude, dad
All the young dudes (hey dudes) Carry the news (where are you?) Boogaloo dudes (stand up) Carry the news All the young dudes (I want to hear you) Carry the news (I want to see you) Boogaloo dudes (I want to relate to you) Carry the news All the young dudes (what dudes?) Carry the news (let’s hear the news, come on) Boogaloo dudes (I want to kick you) Carry the news
All the young dudes (With the glasses) Carry the news (I want you) Boogaloo dudes (I want you in the front) Carry the news (now) (Now, you’re his friends) All the young dudes (now you bring him down) (‘Cause I want him) Carry the news Boogaloo dudes (I want him right here) (Bring him, come on) Carry the news (bring him) (Here you go) All the young dudes (I’ve wanted to do this for years) Carry the news (There you go!) Boogaloo dudes (How’d it feel?) Carry the news
If you’ve not heard it (you should have), here’s the Bowie version too.
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Day 22. Golden Brown was a song which many assume to be about heroin addiction which became a huge commercial success. Lou Reed’s Perfect Day is also a song which many assume to be about heroin addiction which has seen great commercial success.
Perfect Day is a slow, druggy ballad with huge uplifting choruses. It might be just me but I believe I detect a strong note of sarcasm in the chorus.
Just a perfect day Drink Sangria in the park And then later When it gets dark, we go home
Just a perfect day Feed animals in the zoo Then later A movie, too, and then home
Oh, it’s such a perfect day I’m glad I spent it with you Oh, such a perfect day You just keep me hanging on You just keep me hanging on
Just a perfect day Problems all left alone Weekenders on our own It’s such funJust a perfect day You made me forget myself I thought I was Someone else, someone good
Oh, it’s such a perfect day I’m glad I spent it with you Oh, such a perfect day You just keep me hanging on You just keep me hanging on
You’re going to reap just what you sow You’re going to reap just what you sow You’re going to reap just what you sow You’re going to reap just what you sow
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This interview, which has been uploaded to YouTube today, was probably one of the last that Manic Street Preachers lyricist & rhythm guitarist Richey Edwards gave before his disappearance, nearly a year later. Most of the interview focuses on the bands late manager, Philip Hall, who’d lost his battle with cancer in 1993, & a special award he was being issued posthumously for services to music. There are, however, strong hints of the depression which drove Edwards to maybe take his own life.
Anyway, this afternoon I transcribed this video, which is why I am sharing it. The reason? Because I have never transcribed anything & wanted to know if I could do it. It’s something I feel the need to practice. I have to say, you really notice all of the utterances & dysfluencies in everyday speech, which we normally don’t pick up on, when you’re transcribing informal interviews like this.
Transcript
Paul King: In fact, first time I’ve ever spoken to you, surprisingly over the years.
Richey Edwards: I recognise you from your dubious past.
PK: But we have, 120 in particular, we’re very supportive of the Manics, from early days. I think it was probably the first people who played those vids
RE: I think so, yeah
PK: But you don’t need that kind of support anymore, you’re… I think you’re one of these, termed as established bands now. Is that what you think you are, would you say?
RE: I don’t think any band is established. Most bands have got a career of, maybe, three or four years, then they fade into oblivion and end up checking out dole checks at the DSS, maybe.
PK: Or you go the other way and end up checking in those tax accountants and making millions, that’s… that’s the other alternative, isn’t it?
RE: Yeah maybe, but that’s for the very lucky, the very few. I don’t think that’ll be us, actually.
PK: Well I’ll always remember, the Manics, that you swore that after the first album, you’d break up then anyway, which you obviously didn’t do.
RE: No, I mean, that was a big… ultimately, we wanted to be the perfect band that could make a record that sold globally, you know, millions, and that there would be no need to make another record. All we’ve ever been interested in doing is making a record which encapsulates a mood and a time and then, it can be a full stop, you know, bye bye. You know? No need. Go and live with my dogs on the coast, wherever.
PK: Well the last records anyway, well the last record, was very well received for the group and was seen very much as a mature progression for yourselves. As songwriters and also as musicians.
RE: Yeah, I mean, it was called mature, which is something I find difficult to live with, but I guess it was. I mean… I think the older you get the more life becomes more… miserable. Definitely. I mean, you just…. All the people you grew up with die. You know, your parents die, grandparents die, your dog dies. Your energy diminishes. There’s less books to read. There’s no more groups to discover, you know. You end up a barren wasteland, just trying to find something new which never really occurs. You end up finding worth in groups which, maybe two or three years ago, you would have just spat on. Which is depressing. Which I do all the time. I mean, I’m getting into Buffalo Springfield, which to me, I mean it’s a nightmare…
PK: For what it’s worth, as the song said (haha)
RE: For What It’s Worth is their best song, but you know…
PK: Well on that positive note then, what are the Manics up to at this moment in time? Getting depressed or actually getting positive.
RE: Well, since Philip died, we cancelled everything and just went into a crappy little studio about a quarter of this room’s size and just been writing new songs, just like we did at the start. Just tried to, you know, maybe….
PK: And Philip Hall was obviously the special award this evening.
RE: Yeah, Philip was a very special person to us. It’s pretty well documented, but we spent, maybe, a year, year and a half writing letters, phoning journalists up, you know, people like MTV. Any address or phone number we got, we would write to or phone up. And there was, like, never any response because, like, an unknown band, you know, who cares, or whatever. And Philip was one of the first people who ever called us back, erm, and he said he was interested in coming to see us play in London, erm, and we obviously couldn’t get any concerts here at all, because it’s impossible. So, he drove down to see us practice in, you know, a crappy little schoolroom in South Wales.
PK: Yes, I mean, it’s well documented the guy…he was a very big supporter of new music, that’s why he’s represented tonight at the awards.
RE: He drove down, he saw us play, he liked what we did, he got us some gigs in the Bull and Gate, you know? the Falcon, wherever. And then, just sort of looked after us. And even then, when we started to get some press, he just said, oh, come and live with us. He’d been married, maybe, like a year. So, we slept on his, like, lounge, his kitchen, wherever was available.
PK: So, I appreciate that for you, this evening, here, with him being represented it’s a more of a… a kind of a reflective mood you find yourselves in tonight.
RE: I mean, the only reason we are here tonight is because of Philip. I mean, we’ve never been to one of these things before in our lives. It was just [for] the memory of Philip that we came here. We’re not the sort of band that is seen en masse, in these sort of public occasions. We’re a very private band. We didn’t like these, kind of, showbiz awards.
PK: Well, on from that, can I get a video from you? Would you like to see anybody?
RE: Ermm.
PK: No (haha).
RE: No (haha), yeah, erm, I’d quite like Roxanne by The Police.
PK: Okay, we can go back in time.
RE: Thanks very much. A long time ago.
PK: The Police.
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