[embed]http://www.upload-mp3.com/files/124533_xehs5/Nick Cave and the Bad Seeds-Loverman.mp3[/embed]

with some Nick Cave and the Bad Seeds!

This song is called Loverman and it is quite possibly one of my favorite songs by Nick Cave and the Bad Seeds.

L is for LOVE, baby
O is for ONLY you that I do
V is for loving VIRTUALLY all that you are
E is for loving almost EVERYTHING that you do
R is for RAPE me
M is for MURDER me
A is for ANSWERING all of my prayers
N is for KNOWING your loverman’s going to
be the answer to all of yours

You had to be there, that’s the general feeling after watching the film marking 10 years of the All Tomorrow’s Parties festival. Either because the performances were so good that film could never fully capture the moment, such as Grinderman’s rampant 2007 set, or because eventually indifference settles in towards clips of strangers being drunk, performing covers of ‘Maps’ and making out during Seasick Steve and The Boredoms. Those are their festival stories, nobody else’s, and it’s not much different from being shown other people’s holiday photos.

This film, though, would be nothing without the fans – a collaborative effort, film by fans, artists and filmmakers has been cut together by director Jonathan Caouette, most thrillingly at the start of the film when various footage of two different performances of ‘Atlas’ by Battles build to a rowdy climax. Most of the clips are from 2004 onwards, since when the availability of relatively cheap cameras and phones and YouTube has made everyone a potential documentary maker.

ATP’s back story is covered briefly in a sequence where founder Barry Hogan watches himself being interviewed on The Culture Show. There are unanswered questions, such as how it stays sponsorship-free or how curators are chosen, but mini-manifestos from Jerry Garcia, Thurston Moore, Patti Smith and Iggy Pop certainly explain at least part of what ATP stands for – reclaiming rock & roll from big business and industry. It’s worth considering during the clips of chalets bustling with ad hoc ‘fan bands’, an idea that has since been co-opted for multinational brands’ for ad campaigns.

Audience and artists living, mingling and performing alongside each other (as Daniel Johnston, Lightning Bolt and Grizzly Bear are filmed doing) is a great part of ATP’s appeal, but it’s the action onstage that’s the most exciting here, such as a lush version of ‘The Boy With The Arab Strap’ by original festival curators Belle & Sebastian, and invigorating, intense performances by Yeah Yeah Yeahs; a ritualistic, chaotic Stooges; and furiously funky and lo-fi Gossip. Les Savy Fav, who performed at the film’s screening tour in October, bring the stage to the audience and together they sum up 10 years of ATP as good as anyone when they shout: “We were there when the world got great! We have to make it that way!” Originally written for High Voltage

Out: on DVD now

Grinderman – ‘No Pussy Blues’ (Live @ ATP 2007 with Bobby Gillespie)

I loooove hula hooping! I also loooove music! Combine these 2 and there you’ll have my reason to wake up and get moving around. Hula hooping makes me dig through my collection and listen to songs I had other wise forgotten about through the years.  So, If anyone is looking for ideas, check these out. Feel free to share your faves with me as well… I’m always looking for new jams!

1. Divine by Sebastien Tellier
2. Blood from a Stone by Hanne Hukkelberg
3. What the World Is Wating For by Stone Roses
4. World Clique by Deee-Lite
5. Digital Love by Daft Punk
6. French Navy by Camera Obscura
7. Back That Thang Up by Juvenile
8. Divine Hammer by Breeders
9. Earth Intruders by Bjork
10. Freakshow by Cure
11. Do It To It by Fannypack
12. I’m Good, I’m Gone by Lykke Li
13. Around the World (intro, rumba) by Senor Coconut & His Orchestra
14. Saturdays by Cut Copy
15. No Pussy Blues by Grinderman
16. Room to Breathe by Hangar 18
17. Margaya by The Fender Four
18. Close Your Eyes by Ian McCulloch
19. The Dream Machine by Sukia
20. Everything’s Fine by Adorable
21. Inclined to Vomit by Adult.
22. Egg Man by Beastie Boys
23. En Particulier by Blonde Redhead
24. Strange Fruit by Catherine Wheel
25. Beef Jerky by Cibo Matto

Camera Obscura

I always get so excited about the Sydney Festival. This time it was no different. Rumours had it the Scottish indie pop-rockers Camera Obscura were going to hit the town this January, and to my extreme delight, yes they are! Often compared to one of my absolute favourite bands Belle & Sebastian, this fine quintet came to my attention only a couple of years ago with Let’s Get Out of This Country. I fell in love with their memorable intimate bedroom pop melodies instantly. This is one band you will absolutely adore in the outdoor settings of the Beck’s Festival Bar.

It won’t be as epic as this year’s All Tomorrow’s Parties, but anything staring the brilliant Warren Ellis assures a spellbinding experience. Dirty Three and Laughing Clowns will perform Ocean Songs and History of Rock ‘n’ Roll Vol. 1 albums in their entirety at the Enmore Theatre on Australia Day. Dirty Three formed in Melbourne in 1991 and are Warren Ellis (Nick Cave and The Bad Seeds and Grinderman), Mick Turner  and Jim White. Sydney-based Laughing Clowns formed in 1979, after Ed Kuepper left The Saints. Alongside Kuepper and Jeffrey Wegener, the Sydney Festival version of Laughing Clowns will also feature Louise Elliott, Les ‘Biff’ Millar and Alister Spence.

In my opinion, festivals are just as much about seeing your favourite artists, as discovering new ones. I am quite keen to check out the Chicago-formed alternative country husband and wife duo The Handsome Family, especially since I’ve never seen anyone perform in The Famous Spiegeltent before. The Handsome Family have an impressive musical career of 14 years and nine albums! I say bring on some surreal, poetic American folk.

A new addition to Beck’s Festival Bar are the wonderful folk-rockers The Decemberists. This is an unmissable gig people!

There have been times when I’ve found it difficult to pick a favorite record for a given year, but 2007 wasn’t one of them. Granted, any time Joe Henry releases a new album, it makes the Album of the Year race fairly tough to call for me, but 2007’s Civilians felt particularly timely and triumphant. Part of it was that the album was the follow-up to Tiny Voices– an album that had by then become my all-time favorite, by Henry or anybody else– and that it had been some four years in the making. But more than that, the album followed on the heels of a particularly turbulent political season and looked ahead to the election cycle that was to come, yet it was not, as Henry has always been quick to point out, a “political album.” Actually, it was a decidedly spiritual one, casting its eye to national affairs but also invoking God’s name on nearly every song and exploring profoundly theological matters– namely, the providence and grace of God, themes it addresses more poetically and richly than any other album I know of, save perhaps Sam Phillips’ A Boot and a Shoe.

Henry was 2007’s true MVP, not only for that album’s superb songwriting but also for his skilled work as a producer, both on Civilians and on a pair of albums he cut for other artists– Loudon Wainwright III’s Strange Weirdos and Mary Gauthier’s Between Daylight and Dark. These three albums are produced immaculately and cut with the same core band, which made them feel, at the time, a bit like a trilogy, though all three have very distinct characteristics. If Henry’s album is about poetry and spiritual exploration, Wainwright’s is about joy and humor, and Gauthier’s about gritty blues. All three are utterly excellent, though, and rank as three of the finest albums from 2007, which I still think of as The Year of Joe Henry.

But if the big story in 2007 was, for me, Joe Henry, it was, for everyone else, Radiohead. In Rainbows appeared from out of the blue at the tail end of the year and made huge waves for its unorthodox release strategy, but, with a little distance, the album is now starting to be celebrated not just for its cutting-edge marketing, but, more importantly, for its standing as a very fine Radiohead album. In fact, it’s become one of my favorites: The sound of it is (comparatively) warm, romantic, and comfortable in its own skin in a way that no other Radiohead album is. When I get a Radiohead itch, it is, more often than not, for In Rainbows.

Another trend: Rock and roll. 2007 was full of great rock, ranging from The White Stripes‘ Icky Thump– their hardest-rocking set, and one of their most peculiar– to Queens of the Stone Age and the loud, nasty, primitive roar of Era Vulgaris. My two favorites might be Arctic Monkeys‘ piledriving rock and roll set Favourite Worst Nightmare and Spoon’s sensational, inspired tribute to pop songcraft, Ga Ga Ga Ga Ga. Rounding out the rock and roll set is Dinosaur Jr. and Beyond, one of the decade’s most thrilling comebacks, an album of great hunger, energy, and roaring rock and roll vigor.

Behind Joe Henry, though, the thing I listened to most in 2007 was The Historical Conquests of Josh Ritter, a blindingly great pop album for which I hold boundless affection. I’m not sure that anyone else loves the album in quite the same way that I do, but I stand behind it completely: Ritter reshapes American myth and music in his own image, and the album is both heartfelt and incredibly fun. More than anything else, it reminds me of the great Nick Lowe albums of the late 1970s– it’s a jukebox of great songs and styles, but it holds together due to the sheer magnetism of the singer and the consistent nature of the songwriting.

2007 was also the year of what is arguably my favorite soul album of the decade– it’s gotta be either Solomon Burke’s Don’t Give Up on Me (from 2002) or Bettye LaVette’s The Scene of the Crime. The latter album is an exemplary entry in the genre, for a number of reasons: Not only is it a crash course in the art of song interpretation, with LaVette pulling songs from diverse sources and styles and turning them all into not only soul songs, but soul songs that tell her own, unique story, but it’s also a primer on inspired collaboration; LaVette and her backing band, the Drive-by Truckers, create a speaker-rattling, soul-stirring roadhouse fury, and few soul albums released in the 00s match this one in sure, unhinged fervor or edginess.

And though he didn’t release any album of his own in 2007, Bob Dylan was nevertheless the source– or at least the source material– of one of my very favorite albums from the year, the dynamite two-disc soundtrack to I’m Not There. Dozens of vintage Dylan tunes covered by some of the best artists around, and the whole thing is virtually devoid of clunkers of filler. It’s inspired, and compulsively playable; it still finds its way into my stereo all the time.

And the list goes on and on. Over the Rhine got playful with The Trumpet Child. Maria McKee made her more inspired and colorful album with Late December. Nick Lowe made his best-yet collection of country/rock/R&B gems with the easygoing, romantic At My Age. Arcade Fire mixed politics and religion for the fiery, ferocious Neon Bible. Robert Plant and Alison Krauss got contemplative for the sublime Raising Sand. Patty Griffin turned in another winning set, mixing country and folk and gospel, in Children Running Through. LCD Soundsystem made what might be my favorite dance recording of the decade, Sound of Silver. Nick Cave and some of his Bad Seeds rocked their way through midlife crisis in Grinderman’s self-titled debut. Andrew Bird made one of his most ambitious and provocative works, Armchair Apocrypha. Miranda Lambert gave mainstream country a much-needed dose of rock and roll in Crazy Ex-Girlfriend. The National turned in working-class poetry with their beautiful album Boxer. And on and on it goes; all told, I’m pretty sure 2007 was my favorite musical year of the decade.

But how about you?

See also: 2000; 2001; 2002; 2003; 2004; 2005; and 2006.

El primer álbum de Grinderman, banda formada por Nick Cave y algunos miembros de The Bad Seeds, fue recibido en 2006 con un extraño escepticismo. Mi hipótesis es que muchos interpretaron su principal virtud como defecto: Grinderman es un disco que expresa sin anestesia el dolor de los años; así suena y se siente la crisis de la mediana edad. Prerrogativa de artista: mientras un cincuentón común y corriente se compra un auto deportivo para desviar la atención de su propia decadencia, un tipo como Nick graba un disco de rock durísimo sobre ansiedad apocalíptica y frustración sexual.

El resultado es fascinante y merece ser mucho más celebrado. Ojalá que el segundo disco del grupo, programado para el 2010, ponga todo en su lugar. Mientras tanto, van tres muestras explosivas de su poder en vivo:

No pussy blues

When my love comes down

Honey bee (Let’s fly to Mars)

La foto es de Robert Loerzel. Su sitio: www.undergroundbee.com

Avril Lavigne’s vagina and Kylie Minogue’s ass are just two of the abiding obsessions of the monstrous protagonist in Nick Cave’s new novel – The Death of Bunny Munro. In 2006, as part of Grinderman, Cave performed the memorable ‘No Pussy Blues’, but his Bunny can make no such complaints. He’s a character who regards himself as a “world-class cocksman” , a God’s gift to woman and his maniacal one track mind means that every female, young or old, fat or thin, pretty or ugly is regarded in purely sexual terms.

This view of male sexuality is depressingly recognisable although Cave over eggs the pudding – in exaggerating for effect we’re  left with someone with no redeeming qualities whatsoever. So the sex is relentlessly seedy and joyless – he even masturbates at his wife’s funeral. Cave has commented that Bunny’s desires are simplistic and infantile. he certainly lacks any imagination or softness; aside from getting his rocks off , no other thoughts seem to enter his head. As he tries to chat up one woman on the phone, she asks him ” Where are you?” to which he replies “Where am I? – I’m all over the fucking place”. He eyes up a spotty cashier in McDonald’s and “thinks she is similar to Kate Moss, only shorter, fatter and more ugly”.

Written in a six-week period during an American tour with the Bad Seeds, Cave  tells the tale of a middle-aged man-child set adrift by his wife’s sudden death. With his 9-year-old son (Bunny Junior) in tow Bunny works through a client list selling beauty products as a door to door salesman. In a battered Fiat Punto, this bizarre road trip in the Brighton area of the UK is conceived as a means to seek out desperate housewives who are as  needy  of sex as he is. We learn that Bunny is graced with a “considerable member” which may explain his impressive score rate but the novel charts his demise as he gets increasingly slobby and desperate.

If he feels anything for his son there are few signs of it – mostly the boy is left sitting in the car while he conduct his sordid business. Despite this, Bunny Junior worships the ground his father walks on; implying that blood ties bind us together whatever the circumstances.

The depiction of this bright young boy is the best thing about the novel – the antics of Bunny senior are so appalling and grotesque that you can’t even think of him as a comical anti-hero. There’s a sub plot of a horned (horny?) killer who travels from the north to south of Britain seeking victims en route, a demonic fiend who , like Bunny, seems to be literally possessed by the devil.

A quote from Auden – “We’ve got to love each other or die” – is a stark contrast to Bunny’s  debauchery. Cave presumably wants to show the depths men sink to in order to satisfy their insatiable lust for sexual gratification.

“I am damned” , is the first line; a self-awareness that only come when Bunny  knows he going to die – his last words are “I found this world a hard place to be good in” . On the evidence we’re presented with, he didn’t try too hard.

It’s left to Nick Cave himself, in his acknowledgements to offer “love, respect and apologies” to Kylie and Avril.

η αναπαραγωγή της κενής μορφής ως λειτουργίας κατεξοχήν

(παρά τη φημολογούμενη σήψη μου οφείλω να προβώ σε μία δημόσια τοποθέτηση: ναι, εγώ μυρίζω)

κλισέ το [klisé] O (άκλ.) : 1. ανάγλυφη πλάκα, συνήθ. μεταλλική, που χρησιμοποιείται στην τυπογραφία για την αναπαραγωγή κειμένων, εικόνων ή και ολόκληρων σελίδων. 2. (μτφ.) στερεότυπος τρόπος έκφρασης, συμπεριφοράς κτλ., που έχει καταντήσει κενός περιεχομένου από την υπερβολική χρήση: Φραστικά ~. H ομιλία του ήταν γεμάτη ~.[λόγ. < γαλλ. cliché]

Grinderman – No Pussy Blues
http://www.grinderman.com/

Artist Grinderman
Title No Pussy Blues
Label/year Mute Records, 2007
Format 7″ Ltd.
Color Black

The first single from Nick Cave’s sideproject Grinderman.
Comes with a fold-out poster.

En grupp signerad Nick Cave som skapades för att ge utlopp för Caves mer stökiga sida och kanske för hans dröm om att någon gång få pryda ett omslag med en grön apa. Albumet är från 2007 och är ett hopkok av oljud, blues och post-punk. Mer JoyDivision än Bad seeds med andra ord. Det är musik att sitta och dricka whiskey till på en bar långt långt in i en trång mörk gränd fullt med läbbiga typer. Grinderman är lite som Doors måste ha varit på sin tid, ömsom vackert ömsom fult och nästan olyssningsbart. Bra är det i vilket fall. Om du inte hört det så ska du verkligen upptäcka det och har du hört det så var det kanske såpass länge sedan du hörde det att det kan vara värt en ny lyssning.

http://open.spotify.com/user/addejoydiv/playlist/6Y0fHX72O0ccMt8XMqu7PM

Nick Cave ha anunciat una única data de concert a l’estat espanyol. I afortunadament, serà a Barcelona; desgraciadament, el preu pels qui vulguin veure’l és “tela marinera”…65 €!!!. No obstant, omplirà i triomfarà, puix que els diners no seran problema per la nova legió de fans de l’australià; després de gairebé 30 anys de música i amb una discografia a les esquenes excepcional, tant amb els The Birthday Party, amb les “Llavors malignes” i amb Grinderman, ara tothom s’apunta al “carro” de Nick Cave. Bon gust o moda? El que sí queda clar és que és un dels més grans.

Nick Cave estarà acompanyat per l’excepcional instrumentista Warren Ellis i pel magnífic baixista Martyn P. Casey, ambdós bad seeds i grindermen, en un concert íntim al Casino l’ Aliança de Poble Nou. La seva novel·la The Death of Bunny Munro sembla ser que serà la gran protagonista de la nit del 24 d’octubre, data del concert. Fans! Les entrades es posaran a la venda el proper 15 de setembre.

Nick Cave a Bad Seeds néhány zenészével és barátaival közösen alakította meg a Grindermant, amely 2007-ben adta ki debütáló albumát. Az ausztrál énekes néhány hónapot turnézott is az anyaggal, majd ismét a Bad Seeds került fókuszba, emellett Cave befejezte második regényét is. A sok tennivaló mellett is maradt idő a Grindermanre, idén elkészült a második album: a nyár folyamán rögzítették az anyagot, amely várhatóan 2010 elején jelenik meg…

“Három héttel ezelőtt fejeztük be a Grinderman lemezét, már csak a masztereléssel van egy kis munka, plusz a számsorrendet kell elkészíteni. A lemez teljesen különbözik az utolsó Nick Cave-albumtól, és a Grinderman első korongjától is. A hozzáállás hasonló, de néhány igen furcsa dolgot is kipróbáltunk. Mintha a stoner rock találkozna a Sly Stone-nal, és Amon Duullal. Nick szövegei is egészen mások lettek, igaz, azt nem mondanám, hogy kevesebb bennük a szex” – nyilatkozta Cave szerzőtársa, Warren Ellis.

A Grinderman-lemez megjelenése előtt Cave és Ellis egy másik közös anyagot is megjelentet, szeptember 22-én ‘White Lunar’ címmel kerül boltokba a duó filmzenékből összeállított albuma.

-est-

Grinderman mit “No Pussy Blues”:

Enjoy!

As already hyped over the Net, Nick Cave (the multitalented Australian singer, screenwriter, actor, writer and what have you) is releasing his second book The Death of Bunny Munro. Surrounding the presentation of his new book, Cave, assisted by publisher Canongate, is launching a huge marketing campaign using all digital/new media marketing possibilities to promote Bunny. This viral operation, combined with the aura surrounding Cave, makes this a very interesting endeavor to take a closer look at.

 First of all, what is the book about?  From the publisher’s website:

“The Death of Bunny Munro recounts the last journey of a salesman in search of a soul. Following the suicide of his wife, Bunny, a door-to-door salesman and lothario, takes his son on a trip along the south coast of England. He is about to discover that his days are numbered. With a daring hellride of a plot The Death of Bunny Munro is also a modern morality tale of sorts, a stylish, furious, funny, truthful and tender account of one man’s descent and judgement. The novel is full of the linguistic verve that has made Cave one of the world’s most respected lyricists. It is his first novel since the publication of his critically acclaimed debut And the Ass Saw the Angel twenty years ago.”

I have not (yet) read Cave’s first novel (mentioned above) but love his song writing, and although, as novelist Will Self states in his amazing review on Cave as a writer, writing good song lyrics is not the same as writing a good book or poem, Self (with me agreeing – I hope) seems to make an exception when it comes to Cave. From his review, entitled Dark Matter (originally published in The Guardian): 

“Cave, as a poetic craftsman, provides all the enjambment, ellipsis and onomatopoeia that anyone could wish for. A word on eroticism and the dreadful dolour of knowing not only that all passion is spent – but also that you’re overdrawn. If Cave were to be typified as a lyricist of blood, guts and angst, it would be a grave mistake. He stands as one of the great writers on love of our era. Each Cave love song is at once perfumed with yearning, and already stinks of the putrefying loss to come. For Cave, consummation is always exactly that.”

This promises quite a lot and the fact that Cave’s writing skills extend to prose does not surprise me, although it does make one a little envious of such an unlimited talent. 

Published by Canongate, the UK publication of Bunny is planned for September 3^rd 2009. Accompanying the book release a beautifully designed website has been created, on which one can (of course) find more information about the book, reviews (reviews from the Australian release are already up here) and information about the events surrounding the release. As this is an international release, being published in 31 countries around the world, these events are an important part of the campaign. Cave is doing webchats, interviews, evenings and talk sessions all over the world. These events will not only gather there own revenue but will definitely also promote the sales of the book. Cave is also booked to come to Amsterdam, states his Dutch publisher J.M. Meulenhoff: On the 14^th of October Cave will ‘do’ the renowned venue Carré (an evening with Nick Cave) – press interviews afterwards. Knowing these Carré events, tickets will probably go for around 100 euros. Good plan Nick.

Still, nothing out of the ordinary here. What makes this such an interesting multimedia release however is the fact that Cave simultaneously releases an audiobook version, read by the man himself, with an accompanying soundtrack created by Cave and Warren Ellis (who worked before with Cave on The proposition and in his Grinderman project). The soundtrack uses a ‘3D audio spatial mix’, specially designed for listening on headphones and thus, as the website states ‘creating a fully immersive experience for the listener’. Next to that one can also find videos on the Bunny site (and on Youtube) showing Cave reading from the book (detail: notice bling-bling rings on fingers) – again accompanied by the aforementioned soundtrack: all creating the necessary buzz around the persona or brand of Cave. I watched some of it, and, in a part which recalls a kind of absurdist Ellis, I especially liked chapter 11 part 1.

You can buy or order different formats of the book: the signed, numbered and slipcased limited edition (up to 120 pounds and increasing with every sale – real fans buy everything). The standard hardback, the ebook in EPUB format, an audiobook box set (with DVD of Cave reading extracts from the book) and an audio download will also be available. This multimediality offers the reader all kinds of entrances into the narrative, providing choice and convenience. The Guardian zooms in on this aspect in a very good analysis of these  kinds of ‘enhanced book editions’ that will be available for the iPhone:

“The Enhanced Edition does some of the things we’re now accustomed to seeing as standard in electronic texts: you can faff with fonts, change colour, bookmark it, and so on; and there’s some smart social networking stuff attached. But it also includes enhancements that could have a noticeable effect on the experience of reading. Instead of paginating the book conventionally, it’s presented as a continuous vertical scroll (one geek-pleasing trick is that you can adjust the scrolling speed with the angle of tilt of the phone), and the App includes an audiobook that syncs with the written text.  Pop on the headphones, thumb the screen and Cave’s voice picks up where you left off.”

The Guardian seems very enthusiastic about the possibilities these kinds of experiments might bring to our reading experience: making it less monolithically text based and more immersed with our other senses, experiencing mixed media at the same time, as we are increasingly more used to nowadays anyway:

“This is interesting. It could be regarded as a gimmick, but if it catches on, it will subtly change the way we experience fiction. If you half-read, half-listen to a book, your experience of reading will partly be shaped by the voice of the audiobook; your memories of the text will be coloured by how you took it in, passage by passage. (…) So, some whiffs of roses and haddock. But the breadth of the package, it seems to me, is at the very least a weathervane. There’s no ignoring the fact that the e-book will, not too far from now, compete with the paperback; and the likelihood is that some readers won’t just use them to read. It’s a longstanding truism to say that every reader reads a different book. As more packages like this find their way to market, the book itself, as well as its readings, will become more plural, more blurred, and less monolithically booky. Smells good to me.”

Well, I am ready for the experience and will try to read the book simultaneously with the audiobook; as I am a fast reader I wonder if Nick can keep up with me, but maybe the rich baritone of his voice will keep my eyes gripped on the words a little longer.

“As our dreams and desires are hung on the butcher’s hook of rampant consumerism, and the mirage and the illusion and the Nike trainers are served up on the trembling quim of an impossibly nubile girl-thing, No Pussy Blues tells it like it is,” suggests Cave. “It is the child standing goggle-eyed at the cake shop window, as the shop-owner, in his plastic sleeves, barricades the door and turns the sign to “CLOSED”. It is the howl in the dark of the Everyman.”

“Set over a throbbing pornographic bass line, the world holds its breath for the onslaught of the wah’s shriek of frustration and dirty water,” counters Casey. “No Pussy Blues continues in the blues tradition and its timeless fascination with getting laid… or not.”

“It’s ‘Back Door Man’, it’s ‘Crawling King Snake’, it’s ‘Tiger Man’,” says Ellis.

“It’s ‘Shake Rattle and Roll’,” says Sclavunos.

My face is finished
My body’s gone
And I can’t help but think
Standing up here in all this applause
And gazing down at all the young and the beautiful
With their questioning eyes
That I must above all things love myself
That I must above all things love myself
That I must above all things love myself

I saw a girl in the crowd
I went over, I shouted out
I asked if I could take her out
But she said that she didn’t want to

I changed the sheets on my bed
I combed the hairs across my head
I sucked in my gut and still she said
That she just didn’t want to

I read her Eliot, I read her Yeats
I tried my best to stay up late
I fixed the hinges on her gate
But still she just never wanted to

I bought her a dozen snow white doves
I did her dishes in rubber gloves
I called her Honeybee, I called her love
But she just still didn’t want to
She just never wants to
DAMN!

I sent her every type of flower
I played her a guitar by the hour
I petted her revolting little Chihuahua
But still she just didn’t want to

I wrote a song with a hundred lines
I picked a bunch of dandelions
I walked her through the trembling pines
But she just even then didn’t want to
She just never wants to

I thought I’d try another tact
I drank a litre of Cognac
I threw her down upon her back
But she just laughed and said she just didn’t want to

I thought I’d have another go
I called her my little ho
I felt like Marcel Marceau must feel
But she said she just never wanted to
She just didn’t want to

I’ve got the No Pussy Blues
I’ve got the No Pussy Blues
I’ve got the No Pussy Blues!
DAMN!

No Pussy Blues
I’ve got the No Pussy Blues
I’ve got the No Pussy Blues
I’ve got the No Pussy Blues

DAMN!
DAMN

ανάμεσα στο δέον (ιδεολογία) και το είναι (απροσδιόριστο) / αυτός ο επικίνδυνος ‘ρεαλισμός’ που εκλαμβάνει την ιδιοτροπία του ως πραγματικότητα για τον απλό λόγο: η ιδιοτροπία του ως σκελετός της πρακτικής απορροφάται διαρκώς και συγκαλύπτεται / συγκαλύπτει την καταγωγή του: την ιδεολογία και η ιδεολογία αυτή είναι το κράτος του τρόμου / μέσα στην επιστημονικοφανή ψευδο-αντικειμενικότητα μίας μπάσταρδης απογόνου της δυνατότητας, την πιθανότητα, τρομοκρατείται διαρκώς από το απροσδιόριστο και διαρκώς προσπαθεί να περιορίσει την εμβέλεια της απροσδιοριστίας περιχαρακωμένος, ο ρεαλισμός, μέσα σε υποδομές, δομές, προβλεπτικές στρατηγικές, επικοινωνιακές πραγματολογικές πρακτικές κ.ο.κ. / κι αυτά είναι προφανή: διάφανα σε βαθμό που αφανίζονται από την κοινή θέα και συγκροτούν το τραχύ έδαφος που θεμελιώνει τον φόβο και την ψευδεπίγραφη προσδοκία της αποσόβησης του κινδύνου / διαρκώς σε άμυνα / υποδεικνύω τις εξόδους διαφυγής / ωστόσο η έξοδος διαφυγής έχει κι εδώ τη χρησιμότητα της επίδειξης αεροσυνοδών μέσα σε αεροπλάνο που βρίσκεται δέκα χιλιάδες πόδια πάνω από την επιφάνεια της θάλασσας / η επιβίωση είναι μία αμυδρή πιθανότητα, μία υπόθεση εργασίας / στην έσχατη μάχη η ήττα (ευτυχώς) είναι προδιαγεγραμμένη / κι αυτό είναι μία λογική αναγκαιότητα / έως τότε η οικονομία του τρόμου παραμονεύει και διασώζει πρόσκαιρα την συνείδηση από τον εαυτό της (ο τρόμος στην ρίζα του συναντά αυτό το τραγικό συμβάν: την επίγνωση των δυνατοτήτων στο σύνολό τους) / διασφάλιση / εξασφάλιση / ασφάλιση…

Esse Emissão 16 do Podcast Vishows, chega chegando com muito Blues de qualidade, prá exorcisar todos os caretas e covardes do mundo e do Brasil, que vivem repetindo o que a mídia gorda nos passa, sem questionar e sem pensar.

Começamos com o Mestre Stevie Ray Vaughan e seu Double Trouble com a grande “Ain’t Gone ‘N’ Give up on Love”.

O primeiro bloco vem com o poeta do rock Cazuza e seu “Blues da Piedade” com letra que resume o espírito do programa. Na sequência dos sons norte-americanos de responsa – ZZ TOP com “I need you tonight” e o mestre Buddy Guy e a incrível “Where´s the next one coming from”.

O segundo bloco chega com o grande guitarrista inglês Jeff Beck, e o som meio blues meio jazz de “Constipated Duck”, emendando com o cover dos Beatles “I want you (she´s so heavy)” com o talentoso Eric Gales, fecha o bloco o texano Johnny Winter e seu clássico “Mean Town Blues”.

O programa se encerra com sons que provam que o blues saiu dos EUA e conquistou o mundo, primeiro o super Slide Guitar do australiano Dave Hole com “Blues will call my name”, seguido do bluesman argentino Pappo´s e seu hit “El hombre suburbano”, fecha o programa o som pesado, sexual e nervoso de Nick Cave & Grinderman com “No Pussy Blues”.