Here’s the latest batch of Music Musings and Miscellany’s unapologetically subjective selection of the twentieth century’s best 1000 singles.

THE BYRDS – So You Want to Be a Rock ‘n’ Roll Star / Everybody’s Been Burned (Columbia 43987 1967)
They had a bit of a nerve poking fun at the Monkees when just a couple of years earlier only McGuinn played on their own debut single. Still it’s a fun piece of satire. The flip is one of the best things the Byrds ever did, a dark but hopeful Crosby ballad.

BUFFY SAINTE-MARIE – Soldier Blue / Moratorium (RCA 2081 1971)
Ralph Nelson’s 1970 western Soldier Blue was unlike any other before it. Shockingly violent and, for once, the good guys were definitely not the US Cavalry. Based on a true massacre that happened in 1864, it was also as much about Mai Lai and the Vietnam War. Buffy Sainte-Marie, a Cree herself, invested the song with both anger and bitter sorrow and yet it is just as much a celebration of the natural wonders of a country and her own ancestry.

DUKE ELLINGTON & HIS ORCHESTRA – Solitude / Mood Indigo (Columbia 35427 1940)
Ivie Anderson is one of the most underrated jazz vocalists, and she shines on these two Ellington ballads, both of which have become standards crooned by virtually every nightclub and torch singer since.

PETER GABRIEL – Solsbury Hill / Moribund the Burgemeister (Charisma 301 1977)
Fresh out of Genesis, Peter Gabriel launched his solo career with this, still one of his most poignant songs. Solsbury Hill itself overlooks Bath in Somerset, and the song captures that very special pleasure of sitting somewhere still and peaceful and watching the lights and bustle of the city night below.

JESUS & MARY CHAIN – Some Candy Talking / Psychocandy / Hit (Blanco Y Negro 19 1986)
By 1986 the screech of feedback had largely been excised from the Mary Chain’s records, replaced by cavernous echo. With it went a lot of the vigour and excitement, but that didn’t matter so much on songs as good as this, with its booming Spectorish sound.

LEE HAZLEWOOD & NANCY SINATRA – Some Velvet Morning / Oh Lonesome Me (Reprise 651 1968)
How trippy is this? Essentially it sounds like a verse taken from two completely different songs intercut. Hazlewood’s bit is dark and rumbling like Johnny Cash meets Link Wray while Sinatra’s is hippy-dippy flower child stuff, well away with the faeries. It’s like a cocktail of quaaludes and acid.

JEFFERSON AIRPLANE – Somebody to Love / She Has Funny Cars (RCA 9140 1967)
When Grace Slick joined the Jefferson Airplane she brought this song along from her previous band the Great Society, written by her brother-in-law Darby Slick. The Airplane version is tighter and punchier with a chorus so strident it’s almost accusatory.

EDDIE COCHRAN – Somethin’ Else / Boll Weevil Song (Liberty 55203 1959)
STANDELLS – Sometimes Good Guys Don’t Wear White / Why Don’t You Hurt Me? (Tower 257 1966)
By 1959, most of the first generation rock and rollers seemed to be mired in gloopy ballads and sounding little different to the pre-rock generation of singers like Johhny Ray and Frankie Vaughan. Eddie Cochran, on the other hand, still had a raw spirit about him: still sounded like someone a teenaged girl would think twice about introducing to her mother. That’s why he was so popular with the punks nearly two decades later, along with his friend Gene Vincent. The Standells, too, had that snotty fuck you attitude. But as they say in the song “You think those guys in the white collars are better than I am baby? / Then flake off!” True blue-collar working class pride…from a bunch of LA rich kids. Oh, well.

BLUR – Song 2 / Get out of the Cities (Food 93 1997)
The indignation this caused from my Pavement loving underground rock friends always made me laugh. It’s noisy and fun. What’s not to like?

LEFTFIELD – Song of Life / mixes (Hard Hands 002 1992)
A nine minute progressive house monster that pretty much defined the genre and still stands as one of the best tracks of its kind.

THIS MORTAL COIL – Song to the Siren / 16 Days (4AD 310 1983)
Originally This Mortal Coil were convened as a one-off project for this single, but its success was such that they ran to three albums, each with a constantly changing cast of performers. Liz Fraser hadn’t really tackled a proper lyrical song before, her voice more used as another instrument in the Cocteau Twins. But she gives Tim Buckley’s classic song a ghostly innocence that is absolutely captivating. The backing is so subtle that she’s almost on her own, but there’s no sign of nerves – she’s absolutely lost in the song. An amazing performance.

JOSEF K – Sorry For Laughing / Revelation (Postcard 814 1981)
Famously a band who seemed happier the flatter their records sounded; a band who scrapped their first album because it sounded too warm and produced and instead put out something tinny and stark. Paul Haig’s bored drone of a voice isn’t the most appealing instrument, but it gives this song a dry sarcasm. And it’s pretty much the touchstone record for the C86 generation.

LAVERN BAKER – Soul on Fire / How Can You Leave (Atlantic 1004 1953)
She’s better known for appealing, but ultimately disposable pop ditties like “Tweedle Dee” and “Jim Dandy”, but Lavern Baker was happiest singing the blues. If anything, though, “Soul on Fire” is deep southern soul a decade too early.

DAVID BOWIE – Sound and Vision / A New Career in a New Town (RCA 905 1977)
A long long way from Ziggy in just four years. “Sound and Vision” was the introduction to Bowie’s leftfield masterpiece Low and about as traditionally pop as the album got. Which isn’t very.

SIMON & GARFUNKEL – The Sound of Silence / We’ve Got a Groovy Thing Goin’ On (Columbia 43396 1965)
Dylan had gone electric, the Byrds were having big hits doing jangly folk-rock. It made sense for Simon & Garfunkel to add drums and rock arrangements. Unfortunately they weren’t working together at the time, and Paul Simon was touring folk clubs in Europe armed only with his trusty acoustic. Producer Tom Wilson stepped in anyway, gave the track a new “with it” backing and Columbia watched another of their folk acts have a huge hit. Simon might not have liked it, but he could hardly complain at the new levels of exposure, and the duo quickly reconvened.

MEMBERS – Sound of the Suburbs / Handling the Big Jets (Virgin 242 1979)
They came from around ten miles away from me, and lyrically this song captured perfectly the tedium of North Surrey / East Berkshire Sundays. Nothing else to do but kick a football around with your mates. Nothing on telly, nothing on the radio (except David Rodigan’s Sunday show on Radio London) and school next day.

More soon

I have been listening to Simon & Garfunkel lately. One of my favourite songs, is “America”, and I love it in “Almost Famous”.

Another favourite is “Feel flows” by The Beach Boys (and it also happens to be in previously mentioned movie). It is a perfect song to wake up to (or fall asleep), or just lay on the bed while closing ones eyes. Really soothing.

This is a brilliant song with Lee Hazlewood and Nancy Sinatra, “Some velvet morning”. I do not really understand what it is about, but I love it. The sound of it, and Lee´s dark voice combined with Nancy´s soft, feminine voice.

And another favourite, “Sunday Morning” with The Velvet Underground.

Some Velvet Morning

In my opinion, this has got to be one of the greatest duets in the history of music. It has a dark, mysterious and eerie feel to it; from the lyrics, to Lee Hazlewood’s cold and deep delivery and Nancy Sinatra’s etheral siren.  It’s everything a good song should be.

It was also recently covered by Primal Scream, featuring none other than Kate Moss.  It has taken an obvious departure from the original, by adopting a much more ‘electro-pop’ feel.  It’s a very interesting take, check it out.

This is from a gem the ol’ roomate dug up: Movin’ On the last of a series of far-out albums released by Lee Hazlewood during his fecund sojourn in Sweden through the 1970’s.   It comes with meticulous liner notes explaining the fascinating genisis of this album and a lot of his other work.  A true musical genius and genuine eccentric; like a benign Phil Spector.  Nothing says it better than this sentence from the liner notes:  “Those who dismiss Lee’s solo albums as ‘cheesy’ overlook that they’re eccentric, tasty cheese.”  This cut, Kung Fu You is one of the damndest of his inexplicable oeuvre.

Always on the hunt for some decent ear pleasure in the world of podcasts, i would like to recommend Cloudcast. Especially as the latest edition features a compilation by one of my favourite artists – Milieu. Cloudcast doesnt come along too often (only 7 in the last 2 years), but its worth the wait if you are into all things downtempo, shoegaze, and ambient.

Be sure to download all the past episodes featuring tracks from BOC, Freescha, FSOL, Vangelis, Helios, Autechre, Burial and Air to name just a few.

Cloudcast 007 Milieu – Orange Popsicles and Lemonade.

“Milieu’s passion has always been the music. He’s been recording since 2004, now that 5 years has passed, Milieu’s collection has a huge discography. To us we think he is a drone specialist, psychedelic master, haunting melody professor so we are happy that we got him to do this project for us. In this mixtape, he has somehow manage to crush 20 tracks into this one hour mix.”

01. Igor Stravinsky – Ritual Of The Ancestors
//. Jandek – The Clothes
02. The Beatles – It’s All Too Much
03. Hot Chocolate – Every 1’s A Winner
04. Bochum Welt – Arnos Park
05. The B-52’s – Dirty Back Road
06. Casino Versus Japan – Durusey
07. The Dandy Warhols – Ride
08. Ten And Tracer – East Glacr
09. CiM – Disk Three
10. Yasunori Mitsuda – Time Circuits
11. Roy Montgomery – Gang Of Four Vs. Peter Frampton
12. Sagor & Swing – Mjuk Skog
13. Lee Hazlewood – The Night Before
14. Angelo Badalamenti – The Pink Room
15. Igor Stravinsky – The Spring Divinations
16. Hovercraft – Transmitter Down
17. Schema – Echolalia…Curvilinear
18. Freescha – Abominable Love
19. Rob Montejo – Dear Donna
20. Spiritualized – Shine A Light
21. The B-52’s – Follow Your Bliss

Download the mp3 here
Subscribe to Cloudcast

A duet with HIM front man Ville Valo and Natalia Avelon, Polish actress and singer. The song is pretty old by now, but still a great cover. Nancy Sinatra and Lee Hazlewood did the original version.

Vladimir Nabokov worked in bed.

My bed is more comfortable than my desk. I sleep at night with books and mail and magazines beside me, because my lover is far away. Sometimes I have a whiskey on the rocks sitting on my bed, reading and writing.  It sounds depressing, but it isn’t. It’s kind of my center of operations. But I must say, I go to work and go out. Really, I don’t  get enough time there. This is not a Brian Wilson lost- years-in-bed situation.

I’ve compiled some songs as a salute to the bed. It’s more than just a place to sleep or horse around. It’s the new Round Table.

From All Things Must Pass. When I was a kid my brother used to ask me who my favorite Beatle was and I said Ringo. I mean, I was  just a kid, I think I liked the way it sounded. Anyway, it’s totally George now. Hands down, he was totally the most spiritual Beatle.

On The Bed- George Harrison

Love this one. It sucks waking up to realize you’re alone in the bed. “I run my hands down the cold, cold sheets on your side of the bed…”

The Bed- Lee Hazlewood

Dusty, the other woman, repeats a phrase from one of her earlier hits:  ”You don’t have to say you love me” -addressed to a married man. 

Breakfast In Bed- Dusty Springfield

Don’t smoke in bed. Drinking is okay.

Don’t Smoke In Bed (live)- Nina Simone

I slept on this album for a while. The whole thing is an ornate, rococo affair. Listen to the lyrics in this one.:

By your bedside I leave fruits of many colors

and the wines of many lands

and your company, I believe, is my pleasure.

On the beach of your mind I am sand…

By Your Bedside- Fairfield Parlour

Here’s a late 1960s Dutch pop group who knew what it’s all about: drinking in bed.

Drinking In Bed- Rob Hoeke Rhythm & Blues Group

Here’s footage of John Lennon and Yoko, at their week-long Montreal bed-in in 1969, 40 years ago.

Cheers, from my bed to yours.

Nothing makes me more happy than when I discover an older classic rock era track that I’ve never heard before. Such the case happened today. Aquarium Drunkard played this today on blog radio. The only Nancy Sinatra I’ve ever heard prior to this was “Boots…”. Am I really missing much? Probably not, but this song is pretty cool due to the last minute or so when they alternate between a darker, Neil Diamond-ish sounding part, and the happier, springtime fresh Nancy Sinatra part. It’s a really nice effect, thanks to the quick alternation of 4/4 and 3/4 time signatures.

Como complemento al especial Lee Hazlewood en la hora de Rob, os añado al reproductor de vídeos esta canción en la que aparecen Hazlewood y Nancy Sinatra en una playa onírica, él de jinete solitario y ella cual ninfa errante. Si tenemos en cuenta la letra  que Lee le canta a Nancy, tal y como apuntaba morning (“some velvet morning when i’m straight, i’m gonna open up your gates”) os podéis hacer idea de la trama. Qué monstruo, mr. Lee!

En esta edición monográfica del podcast de Rob rendimos homenaje a uno de los músicos más geniales, divertidos e influyentes de la historia del pop: Lee Hazlewood. Puede que incluso alguna vez  habréis tarareado alguna canción suya sin saberlo. Si queréis ampliar información, podéis acceder a la recomendable somevelvetmorning.net, una página monográfica en la que encontraréis todo tipo de info adicional . Genio y figura.

Podéis acceder a la página del Podcast para descargar los últimos programas y suscribiros al RSS

Listado de temas:

1. Lee Hazlewood & Lula: Nothing (extraído de Cake or Death)
2. Sanford Clark – “The Fool”
3. Duane Eddy – “Stalkin´”
4. Duane Eddy – “Moovin´n´Groovin´”
5. Al Casey – “Surfin´Hootenanny”
6. “Long Black Train” – (extraído de Trouble is a lonesome town)
7. Stephen Jones – “we all make the flowers grow” – (extraído de “Total Lee!“)
8. Nancy Sinatra – “So long Baby”
9. Gabor Szabo – “Some velvet morning”
10. Nancy & Lee:  “Summer Wine”
11. “These boots are made for walkin´” – (extraído de “The Complete MGM recordings”)
12. Nancy & Lee: “Down from Dover” (extraído de “Did you ever?”
13. Calexico – “Sundown, Sundown” (extraído de “Total Lee!”)
14. “After Six” – (extraído de “The Complete MGM recordings”)
15. Lee & Suzi Jane Hokum – “The Girls in Paris” (extraído de “Lee Hazlewood-ism..”)
16. Lee & Suzi Jane Hokum – “Sand” (extraído de “The very special worl of…”)
17. Saint Etienne – “Got it together again” (extraído de “Total Lee”)
18. “If it´s monday morning” (extraído de “Requiem for an almost lady”)
19. “I´m a part” (extraído de “The Complete MGM recordings”)

A todos nos gustaría que usaras esas botas de piel para que nos pisaras bien pisado. Venga, ¿a qué esperas? Que están hechas para caminar, pero también para que camines sobre mí.

via | retrozone

(I first slapped this up on the internet in ‘04 with kind input from Ally on her then-current, fashionable SCRUGLET webzine. Sadly, SCRUGLET has long since gone the way of the pulltop aluminum beverage can. But as I’ve now regrown my moustache, it’s hightime this piece got another airing.)

__________

As a courtesy to others, leave your Frank Zappas and Geddy Lees at home with the sitter. Please check all Freddy Mercurys, Phil Lynotts and whoever else you might have brought with you at the door. You are now taking a seat at . . .

THE REAL MOUSTACHE ROCK ROUND TABLE!!!

Introductions from left to right:

1) DAVE BALL of SOFT CELL. Not in the history of mankind has DAVE BALL’s visage been given billing over that of singer MARC ALMOND – until now, that is. And that’s because New Romantics (circa 1981) didn’t know what the fuck to make of this heavy-set bruiser with a moustache. His anachronistic look brings to mind that of SPARKS’ RON MAEL, but it also gets me thinking English seaside holidaymaker – which makes sense, since DAVE’s from Blackpool. Hopefully, focusing in on his looks for this brief moment will also lead you reconsider this man’s uncanny knack of crafting anxious, desperate melodies & beats that sound the way drinking 6 consecutive shots of espresso alone in your shitty studio apartment feels.

2) RON MAEL of SPARKS. RON’s moustache transcends mere fashion trend – it’s an integral part of what it means to be SPARKS, not to mention a potent musical force in and of itself. Take a listen to SPARKS’ Kimono My House LP again, and listen closely this time; you can actually hear RON’s moustache throwing in it’s 2 cents on damn near every cut. And it’s no coincidence that every change in SPARKS’ musical attack over the years (from dadapop to glamrock to powerpop to synthpop to . . .) has been heralded in by yes! you guessed it! a subtle moustache alteration. Just who or what is calling the shots here? Those of you who feel up to the task can explore Ron’s face in more detail here.

3) TAV FALCO of THE PANTHER BURNS. If you’re someone who doesn’t have alot of patience for things deemed “rootsy”, but always suspected things were waaaay cooler in them olden days than anyone’s grandparents are letting on – well then, TAV’s your man. TAV has an innate ability to recontextualize forgotten American musics in such a highly personalized and assbackwards sort of way that you, the listener, begin to truly understand the dark, festering places in which our collective heritage first squirmed. In the 1990’s, he also focused his attention on tracing American musical forms back to their festering European origins, and reportedly spent a fair amount of time doing the tango in dimly-lit, turn-of-the-century Parisian brothels. Which makes his ghostly moustache all the more apropos.

4) KID CONGO POWERS of THE GUN CLUB. I couldn’t really find a pic that does justice to this man’s upper lip, which is a shame. It’s often groomed in the Errol Flynn mold, but on the KID’s face it takes on a kind of seedy urban jaundice that speaks of acts of profound indiscretion. Those unfamiliar with his music should note he’s also played guitar in THE CRAMPS and NICK CAVE & THE BAD SEEDS among many others – bands who have seen fit to infuse near lethal doses of drama and excitement into our milktoast world over the past quarter century. Plus, he bought a BURUNDI BLACK 12″ in the Hollywood record store I once managed and seemed really sweet, so he earns an honorary seat at the Real Moustache Rock Round Table.

5) WILLY DeVILLE of MINK DEVILLE. I can’t pretend to have followed much of what this man has recorded over the past 30 years. But I’d follow a moustache like this on the street in a New York minute. Perfectly sculpted, nicely thinned, trimmed to a point; in 1977, this sort of attention to personal grooming was a challenge to uptight, heterosexual American men everywhere. While WILLY was hardly the first to bring back the Errol Flynn, he was probably the first to plaster it on the face of downtown NYC punk rock clubland culture. A bold move, MR. DEVILLE. Bravo.

6) FREDRIC CHICHIN of LES RITA MITSOUKO. The somewhat unexpected runway appearance of early 80s inspired fashion in this new millennium might’ve suggested all sorts of colorfully futurist possibilities, but make no mistake about it: this corporate visitation is a hesitant (read: unwilling) nod to those asymmetrically times, at best. The dearth of wacky retro 80’s gear for large size women in your local mall speaks reams of the dominance of hardbody culture over the past 20 years, and lost are the devil-may-care juxtapositions that made 80’s fashion so exciting. Which brings us to FREDRIC CHICHIN: one half of LES RITA MITSOUKO (hands down the best 80’s French new wave duo ever), and a fashion icon unto himself. Everything this man wore – be it hair, fur, silk, skin, metal, paint or plastic – he wore like a freakin’ demon. And it goes without saying that his long, beautifully manicured moustache has much to do with the ease with which he pulled it all off. If you need more visual stimulation do check out the 100+ photos of FREDRIC here.

7) KID CREOLE of KID CREOLE & THE COCONUTS. If you ever attended a high school grad night or New Year’s Eve party in the 1980’s, no doubt you were suckered into shuffling around the dancefloor to something by this man. However embarrassing those memories may be, I’d wholeheartedly suggest you re-explore the first couple KID CREOLE LPs, as well as everything he did with his earlier 70’s/40’s disco acts (DR. BUZZARD’S ORIGINAL SAVANNAH BAND and GICHY DAN’S BEACHWOOD #9). Those records are stylistically clever, suavely over-the-top romps through a goofy, colorful terrain few but KID have ever sought fit to explore. And the sight of him here on this page – wearing that Cab Calloway moustache & zoot suit – still makes me giggle in a really good way.

LEE HAZLEWOOD. The twisted granddaddy of em all, LEE was first to take the flying leap and slide a big ol’ droopy moustache under the radar of the fashion police. On one hand, this was a not-so-subtle insult, a middle finger of sorts aimed at record company stiffs in suits and ties everywhere. But on another level, it was pure genius: the appropriation of something as sick as a goddamn Fuller Brush moustache under the rubric of cool! And make no mistake about it, he did make it cool. Holy fuckin’ A, man – this is the moustache of my worst/best nightmares.

¿El mejor mix del año que pasó? Yo no tengo duda, aunque a algunos le cueste creerlo de una sesión que arranca con dos largos minutos de una grabación de campo (los sonidos de la naturaleza como otra forma de música) y se cierra con una clasicota melodía de los años cincuenta. “Sleepwalk”como su nombre bien parece indicar, se apropia de la mezcla para proponer un fascinante paseo por el subconsciente. Optimo (DJ Twitch y DJ Wilkes) han planteado una sesión narcoléptica que invita a cerrar los ojos y a sumergirse en los planos secretos de las canciones. Coil (que aquí aparecen con su magnífica “Cold Cell”) o Nurse With Wound (representados con “Funeral Music For Pérez Prado”) levantaron su leyenda con estas mismas premisas.

Al menos en su primera mitad, “Sleepwalk” se vuelve un placer psicodélico sin que en sus cortes aparezca el mínimo atisbo de música psicodélica, tal y como nos la ha vendido la historia del pop. Las frecuencias electrónicas de Raymond Scott, los ritmos repetitivos de Cluster o el contrabajo autista de Arthur Russell ponen los mimbres para lo que podría ser un viaje lisérgico de primer orden. Podemos identificar una segunda parte del set en el momento en el que entra una de las voces más alucinantes que jamás se haya atrevido a cantar, la de Karen Dalton. Aquí la cosa deja de entrometerse en nuestra psique y, entre el jazz groove de Duke Ellington, la orquesta de Mulatu Astatke y el punto crooner de Lee Hazlewood, poco a poco vamos poniendo los pies en la tierra. Poco a poco vamos aterrizando y tomando conciencia de una sesión con la que los escoceses Optimo han dejado la técnica en casa para apostar por unas nuevas reglas en la mezcla. Lo que se pretende es volver a ser conscientes del enorme valor de la música en una época de locura informativa y percepciones instantáneas.

Pelo menos está tão quente quanto.

Nancy Sinatra e Lee Hazlewood – Some velvet morning

Some velvet mornin’ when I’m straight
Flowers growing on a hill
I’m gonna open up your gate
dragonflies and daffodils
And maybe tell you ’bout Phaedra
Learn from us very much
And how she gave me life
Look at us but do not touch
And how she made it end

A música, famosa na voz de Nancy Sinatra e Lee Hazlewood, ganhou várias versões incluindo um dueto de Kate Moss com o Primal Scream. Aqui na versão original:

A musical ode to California

http://www.divshare.com/download/6573926-7ab

There was a thread on a message board which invited readers to suggest songs from the late 60s and early 70s that were devoted to the beatification of the state of California. This spun the hamster wheel that fuels my brain since there were so many odes to the apex and aftermath of free love and hallucinogens. Some of these songs embrace the innocence of bursting through social norms, others pay tribute to the majestic scenery of its cities and rural enclaves while others bemoan the loss of innocence in the wake of addiction and the realization that love is anything but free. Anyhow, I figured that I would share my contribution here. Here is the tracklisting that I intended, but somehow my upload rearranged its order. Anyway you slice it, it is still a delicious pie.

Sir Douglas Quintet-Menocino

Moby Grape-Hey Grandma

John Phillips-Topanga Canyon

Guy Clark-LA Freeway

Terry Melcher-Beverly Hills

Neil Young-Revolution Blues

Shirl Milete-Love Child

Robert Charlebois-California

Mickey Newbury-San Francisco Mable Joy

Michael Nesmith-Hollywood

Lee Hazlewood-LA LAdy

Laura Nyro-California Shoeshine Boys

Jim Ford-Working My Way to Los Angeles

Jack Nitzsche-Lower California

Jesse Colin Young-Ridgetop

Flatlanders-San Francisco Bay Blues

Flying Burrito Bros-Sin City

David Crosby-Tamalpais High(At about 3)

Terry Allen-Cortez Sail

Mickey Newbury-Frisco Depot

Tasha Taylor in Amy Greenfield's "Spirit in the Flesh"

This weekend, Symphony Space will present award-winning director and producer Amy Greenfield’s three-part multimedia event “Club Midnight: Flesh into Light“. The evening will begin with the expanded version of Greenfield’s award-winning film “Club Midnight”, which transforms the erotic dancer’s art into lyrically inspired films. The premieres of “Live Tides” and “Spirit in the Flesh” will follow. “Spirit in the Flesh” unites Leonard Nimoy’s photography book, Shekhina (which, in Kaballah, is an all-encompassing female power of creativity and healing) with film, dance, music, and spoken word. The piece has been designed specifically for the Thalia Theater, and features music by Philip Glass, Einsturzende Neubauten, Lee Hazlewood, and Dennis Hopper.

You can learn more about this event at the Club Midnight website or at Amy Greenfield’s blog, Cinema Body.

January 30th and 31st, 7:30 and 9:30 PM each night
Leonard Nimoy Thalia Theater
Symphony Space
Broadway at 95th Street
Order tickets online or call 212.864.5400