Category Archives: Damon Albarn

THE DEMISE OF THE MASK (VOL 7)

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Hello All.

Welcome to Volume Seven of the MixTape series: The Demise Of The Mask. –(Volume One here)__(Volume Two here)__(Volume Three here)__(Volume Four here)__(Volume Five here)__(Volume Six here)-

This one features The Afghan Whigs‘ delicious cover of The Wizard of Oz highlight “If I Only Had A Heart“; Keith Richards‘ fantastic cover of Hank Williams‘ “You Win Again“; a burning 1973 cover of The Rolling Stones‘ “Gimme Shelter” done here by Amanda Ambrose; “Lucky” off of Devendra Banhart‘s latest record Ape in Pink Marble; as well as the stunning 2006 tune “Ain’t Talkin’” by Bob Dylan; the 1946 hit by Peggy Lee, “It’s All Over Now“; another beauty by Jane Weaver; and “Happy Phantom” (which contains the fantastic lyric, “And I’ll go wearin’ my naughties like a jewel”) from Tori Amos‘ great 1992 debut, Little Earthquakes. Yes, all this and a whole lot more! So scroll down and press play!

Oh and there’s George Harrison with this beautiful caveat:

Watch out now, take care
Beware of falling swingers
Dropping all around you
The pain that often mingles
In your fingertips
Beware of darkness
Watch out now, take care
Beware of the thoughts that linger
Winding up inside your head
The hopelessness around you
In the dead of night
Beware of sadness
It can hit you
It can hurt you
Make you sore and what is more
That is not what you are here for
Watch out now, take care
Beware of soft shoe shufflers
Dancing down the sidewalks
As each unconscious sufferer
Wanders aimlessly
Beware of Maya
Watch out now, take care
Beware of greedy leaders
They take you where you should not go
While Weeping Atlas Cedars
They just want to grow, grow and grow
Beware of darkness (beware of darkness)

If you dig the mix then please feel free to pass & post it along; if you dig an artist then please support them and go out and pick up some of their stuff. Oh, If you dig the blog overall there’s always the “FOLLOW BLOG VIA EMAIL” button somewhere down at the bottom

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—————–======ENJOY YOURSELF____———–

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demise-cvr-7

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A MOUTHFUL OF PENNIES PRESENTS:
__The Demise Of The Mask (Vol 7)__Naphthalene Magnolias #4___
  • It Catches Up With You – Trent Reznor & Atticus Ross
  • 9 Point Star – Damon Albarn
  • Don’t Take My Soul – Jane Weaver
  • Lucky – Devendra Banhart
  • Happy Phantom – Tori Amos
  • Fever – Alvin Robinson
  • The Pink Room – David Lynch & Fox Bat Strategy
  • Gimme Shelter – Amanda Ambrose (The Rolling Stones cover)
  • Northeast Texas Women – Willis Alan Ramsey
  • Your Southern Can is Mine – The White Stripes (Blind Willie McTell cover)
  • Don’t Let Him Ride – Mississippi Nightingales
  • Why Spend A Dark Night With Me? – Moondog
  • Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief – Radiohead
  • Beware Of Darkness – George Harrison
  • If I Only Had A Heart – The Afghan Whigs (by Harold Arlen & E.Y. Harburg)
  • Sea Diver – Mott The Hoople
  • Ain’t Talkin’ – Bob Dylan
  • Step Aside – The Staple Singers
  • You Win Again  – Keith Richards (Hank Williams cover)
  • Mean Old World – The Heavenly Gospel Singers
  • Sway – The Rolling Stones
  • It’s All Over Now – Peggy Lee
  • Goodbye America – (written by Jim Morrison; read by Johnny Depp)

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[It Catches Up With You - Trent Reznor & Atticus Ross]

[It Catches Up With You – Trent Reznor & Atticus Ross]

[9 Point Star – Damon Albarn]

[9 Point Star – Damon Albarn]

[Don’t Take My Soul – Jane Weaver]

[Don’t Take My Soul – Jane Weaver]

[Lucky – Devendra Banhart]

[Lucky – Devendra Banhart]

little-earthquakes-banner

[Happy Phantom – Tori Amos]

[Fever – Alvin Robinson]

[Fever – Alvin Robinson]

[David Lynch & Fox Bat Strategy]

[The Pink Room – David Lynch & Fox Bat Strategy]

[Gimme Shelter – Amanda Ambrose]

[Gimme Shelter – Amanda Ambrose]

[Northeast Texas Women – Willis Alan Ramsey]

[Northeast Texas Women – Willis Alan Ramsey]

[Your Southern Can is Mine – The White Stripes]

[Your Southern Can is Mine – The White Stripes]

fire-in-my-bones

[Don’t Let Him Ride – Mississippi Nightingales]

[Why Spend A Dark Night With Me – Moondog]

[Why Spend A Dark Night With Me? – Moondog]

[Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief – Radiohead (art by Thom Yorke & Stanley Donwood)]

[Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief – Radiohead (art by Thom Yorke & Stanley Donwood)]

[Beware Of Darkness – George Harrison]

[Beware Of Darkness – George Harrison]

[If I Only Had A Heart – The Afghan Whigs (by Harold Arlen & E.Y. Harburg)]

[If I Only Had A Heart – The Afghan Whigs (by Harold Arlen & E.Y. Harburg)]

[Sea Diver – Mott The Hoople]

[Sea Diver – Mott The Hoople]

[Ain’t Talkin’ – Bob Dylan (art, "Two Sisters" by Bob Dylan]

[Ain’t Talkin’ – Bob Dylan (art, “Two Sisters” by Bob Dylan]

[Step Aside – The Staple Singers]

[Step Aside – The Staple Singers]

[You Win Again – Keith Richards (photo by Patrick Demarchelier, New York, 2000

[You Win Again – Keith Richards (Hank Williams cover)(photo by Patrick Demarchelier, New York, 2000]

[Mean Old World – The Heavenly Gospel Singers]

[Mean Old World – The Heavenly Gospel Singers]

[Sway – The Rolling Stones]

[Sway – The Rolling Stones (photo by David Montgomery, 1971)]

[It’s All Over Now – Peggy Lee]

[It’s All Over Now – Peggy Lee]

[Goodbye America – (written by Jim Morrison; read by Johnny Depp) (photo, one of the last known of Morrison, a poloroid shot within his paris apt., March-June, 1971)]

[Goodbye America – (written by Jim Morrison; read by Johnny Depp) (photo, one of the last known of Morrison, a Polaroid shot within his Paris apt., March-June, 1971)]

__________——————– =__^__=___________________———
___________________))))))))))))))))

All the best to you and yours!—  –   ————-______-________ ->BOBBY CALERO[—+=-_________________If you dig the mix then please feel free to pass & post it along; if you dig an artist then please support them and go out and pick up some of their stuff. Oh, If you dig the blog overall there’s always the “FOLLOW BLOG VIA EMAIL” button somewhere down at the bottom.

_           _________________   _  ___   _ _________ __________->

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THE DEMISE OF THE MASK (VOL 5)

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Hello All.

Welcome to Volume Five of the MixTape series: The Demise Of The Mask. –(Volume One here)__(Volume Two here)__(Volume Three here)__(Volume Four here)-

Featuring certain songs by Stevie WonderCurtis Mayfield, Al GreenDory Previn, and even featuring the title track from Bill Fay‘s brilliant but apocalyptic and oppressive record of 1971, Time of the Last Persecution–I’m sure that this MixTape is a somewhat result of a residue from our national nativity ceremony. I can recall once in Montréal someone made a derisive remark about religion while jerking a thump at the enormous neon crucifix hung in the night sky. Quickly but calmly, my good friend Frankie responded: “Hey, some people need that…and that’s a real thing, y’know?…some people need that to get by.”

At that moment I thought: “fair enough.”

Well, among a whole lot of other good tunes The Demise Of The Mask (Vol. 5) also features the songs “Misbehave” &  “She Might Get Shot” both taken from  Juan Wauters‘ fantastic 2015 record,  Who Me? I know he’s got a new one coming up someday soon so be sure to keep your ears open for that because I can tell you it’s a beauty!

If you dig the mix then please feel free to pass & post it along; if you dig an artist then please support them and go out and pick up some of their stuff. Oh, If you dig the blog overall there’s always the “FOLLOW BLOG VIA EMAIL” button somewhere down at the bottom

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—————–======ENJOY YOURSELF____———–

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demise-cvr-5

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A MOUTHFUL OF PENNIES PRESENTS:
__The Demise Of The Mask (Vol 5)__Aubade ___
  • Looking For Satellites – David Bowie
  • I Should Watch TV – David Byrne & St. Vincent
  • Gone Away – Matthew E. White
  • All Along The Watchtower – Brothers & Sisters
  • Have A Talk With God – Stevie Wonder
  • Jesus – Curtis Mayfield
  • Jesus Is Waiting – Al Green
  • Did Jesus Have a Baby Sister? – Dory Previn
  • Time Of The Last Persecution – Bill Fay
  • Tower Of Song –  Leonard Cohen & U2
  • Never Be Afraid! [edit] – Entrance
  • I Dreamed I Saw St. Augustine – Bob Dylan
  • Saturn – Damon Albarn
  • Rings Of Saturn – Nick Cave & The Bad Seeds
  • My Body – Perfume Genius
  • Rebirth Of The Flesh – Prince (as Camille)
  • Misbehave / She Might Get Shot – Juan Wauters
  • Hood Politics / How Much A Dollar Cost – Kendrick Lamar ft. James Fauntleroy & Ronald Isley
  • Crippled Inside – John Lennon

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[Looking For Satellites - David Bowie (photo "David Bowie, 1997" by Floria Sigismondi)]

[Looking For Satellites – David Bowie (photo “David Bowie, 1997” by Floria Sigismondi)]

[I Should Watch TV – David Byrne & St. Vincent]

[I Should Watch TV – David Byrne & St. Vincent]

[Gone Away – Matthew E. White, (photo by Cameron Charles Lewis)]

[Gone Away – Matthew E. White, (photo by Cameron Charles Lewis)]

[All ALong The Watchtower – Brothers & Sisters]

[All Along The Watchtower – Brothers & Sisters]

[Have A Talk With God – Stevie Wonder]

[Have A Talk With God – Stevie Wonder]

[Jesus – Curtis Mayfield (cover art recreated, in tinted form, from Margaret Bourke-White's 1937 monochrome original, 'At The Time Of The Louisville Flood', ]

[Jesus – Curtis Mayfield (cover art recreated, in tinted form, from Margaret Bourke-White’s 1937 monochrome original, “At The Time Of The Louisville Flood.” ]

[Jesus Is Waiting – Al Green, (photo by Bud Lee, 1972]

[Jesus Is Waiting – Al Green, (photo by Bud Lee, 1972)]

[Did Jesus Have a Baby Sister – Dory Previn]

[Did Jesus Have a Baby Sister? – Dory Previn]

[Time Of The Last Persecution – Bill Fay, (art by Erica Parrott)]

[Time Of The Last Persecution – Bill Fay, (art by Erica Parrott)]

[Tower Of Song - Leonard Cohen & U2]

[Tower Of Song – Leonard Cohen & U2]

[Never Be Afraid! [edit] – Entrance]

[Never Be Afraid! [edit] – Entrance]

[I Dreamed I Saw St. Augustine – Bob Dylan (photo: Bob Dylan, outside his Byrdcliffe home, infrared color film, Woodstock, NY, 1968. Photo By Elliott Landy)]

[I Dreamed I Saw St. Augustine – Bob Dylan
(photo: Bob Dylan, outside his Byrdcliffe home, infrared color film, Woodstock, NY, 1968. Photo By Elliott Landy)]

[Saturn – Damon Albarn]

[Saturn – Damon Albarn]

[Rings Of Saturn – Nick Cave & The Bad Seeds]

[Rings Of Saturn – Nick Cave & The Bad Seeds]

[My Body – Perfume Genius (photo: Perfume Genius as Egon Schiele's portrait as St Sebastian by Steven Miller, 2015)]

[My Body – Perfume Genius (photo: Perfume Genius as Egon Schiele’s portrait as St Sebastian by Steven Miller, 2015)]

[Rebirth Of The Flesh - Prince (as Camille)]

[Rebirth Of The Flesh – Prince (as Camille)]

[Misbehave / She Might Get Shot – Juan Wauters (art by Matt Volz)]

[Misbehave / She Might Get Shot – Juan Wauters (art by Matt Volz)]

[Hood Politics / How Much A Dollar Cost – Kendrick Lamar ft. James Fauntleroy & Ronald Isley (art by DJNowGraphics)]

[Hood Politics / How Much A Dollar Cost – Kendrick Lamar ft. James Fauntleroy & Ronald Isley (art by DJNowGraphics)]

[Crippled Inside – John Lennon (photo by Michael Putland, 1971)]

[Crippled Inside – John Lennon (photo by Michael Putland, 1971)]

__________——————– =__^__=___________________———

___________________))))))))))))))))

All the best to you and yours!—  –   ————-______-________ ->BOBBY CALERO[—+=-_________________If you dig the mix then please feel free to pass & post it along; if you dig an artist then please support them and go out and pick up some of their stuff. Oh, If you dig the blog overall there’s always the “FOLLOW BLOG VIA EMAIL” button somewhere down at the bottom.

_           _________________   _  ___   _ _________ __________->

A MOUTHFUL OF PENNIES PRESENTS: DENDRITES (VOL. 11)

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From here the album is washed over in a pixelated aurora borealis, which competes for nearly three minutes against steel brackets that attempt to contain it. This being the third song of disc two, “Press: Tattle-Tape,” the band’s tone poem musing on a culture of mass surveillance and spectacle. With a roll and quivering drone to Heath’s voice, the tune drifts along with a slush and spun mantra of:

tattletape

With a yank of the wires Mireille pulled the little stereo buds from her ear canals and let them drop to the laminate table top. For the moment she felt bored by her favorite album by what was then her favorite band. While at the time she was yet to be so heavily embedded in the wireless two-way access and feed of such things, Mireille’s opinion was still much in line with those of the dominant music journalists of “Alt-Culture” at that time. Much of that year’s accolades and critical praise would be heaped upon […]Phantom Limbs[…]. Yet, even those that gave it perfect stars and the top spot on year-end review lists were sure to use the term “self-indulgent” in their opinion columns.

Coinciding with the album’s release on October 24th the prior year, deputy music editor James DePrecato wrote a piece of criticism for Turn-Turn Magazine entitled “Baroque or Bloat.” In this four out of five star review he wrote:

For all of its synthesized ornaments and gloom, Locust Mirror’s last LP, The Misshapen Pearl was still anchored in enough racket to still sell as a fairly standard rock album. Here in the substantial bulk of their new record the band has been uprooted to flail about countless styles, some pleasant, lenient, and wholly mesmerizing, others odious in their sincerity, or worse when occasionally the indulgences plunge into self parody. And yet for all its theatrical abandon, Phantom Limbs (etc. etc. etc.) is one of the finest double albums to be released on the marketplace by any artist in quite some time. Here you have a rare epic that is actually supported by its content.

From here the review careens off into some digression on former Mayor John Lindsay’s Fun City era New York, White Flight, and this quote by French poet Stéphane Mallarmé: To name an object is to suppress three-fourths of the enjoyment of the poem, which is composed of the pleasure of guessing little by little: to suggest…that is the dream. All that before concluding with: “From its sepulchral folk to the fluid-fuzz of its ambitious ballads this is the work of a group resolute in pursuing any and every artistic impulse…wherever they might lead. But above all that it is a triumph of the will and imagination.” But still it was there, “self-indulgent.”

“Well,” Mireille would later question, “what act of creation in this world couldn’t be rerouted back and subjected to that snub? Even charity. Even community. ”

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dendrites cvr 11

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(problem) – Eat the document Soundtrack

Thaeter – Marilyn Manson [art, The Golden Age (Mother 4) by Gottfried Helnwein, 2003]

Newspaper Spoons – Viet Cong

Sweet Cream Ladies, Forward March – The Box Tops

You And Whose Army? – Radiohead [art by Stanley Donwood]

Why Don’t You Believe in Me – Natalie Prass [photo by Laura D’art]

Is It Love or Desire – Betty Davis

One And One – Miles Davis

Keep On Keeping On – NF Porter

Every Planet We Reach Is Dead – Gorillaz

Learning To Live Together/The Revolution Will Not Be Televised, But It Will Be Auctioned Off On Ebay – Mushroom (with Gary Floyd)

Birdland Patti Smith (Photo by Linda Smith Bianucci)

 

E-Bow The Letter – R.E.M.

mrp011lp

Fire Shed In My Bones – Boyd Rivers

I’m So Bored With The U.S.A. – The Clash [painting: The Last Rally, Mort Kunstler (1865)]

Love Me – The Phantom

Big Love – Matthew E. White

Kangaroo – Big Star

Estocadas – of Montreal

Hope – R.E.M.

The-Band-Color-F13A_web

When You Awake – The Band [photo by Norman Seeff, 1969]

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A MOUTHFUL OF PENNIES PRESENTS: DENDRITES (VOL. 11)

  • (problem) – Eat the document Soundtrack
  • Thaeter – Marilyn Manson 
  • Newspaper Spoons – Viet Cong
  • Sweet Cream Ladies, Forward March – The Box Tops
  • You And Whose Army? – Radiohead
  • Why Don’t You Believe in Me – Natalie Prass 
  • Is It Love or Desire – Betty Davis
  • One And One – Miles Davis
  • Keep On Keeping On – NF Porter
  • Every Planet We Reach Is Dead – Gorillaz
  • Learning To Live Together/The Revolution Will Not Be Televised, But It Will Be Auctioned Off On Ebay – Mushroom with Gary Floyd
  • Birdland – Patti Smith 
  • E-Bow The Letter – R.E.M.
  • Fire Shed in My Bones – Boyd Rivers
  • I’m So Bored With The U.S.A. – The Clash
  • Love Me – The Phantom
  • Big Love – Matthew E. White
  • Kangaroo – Big Star
  • Estocadas – of Montreal
  • Hope – R.E.M.
  • When You Awake – The Band 

_ _ _ __=========================================     <^>______BOBBY CALERO

If you dig the mix then please feel free to pass & post it along; if you dig a particular artist then please support them and go out and pick up some of their albums.

A MOUTHFUL OF PENNIES PRESENTS: DENDRITES (VOL. 8)

http://investinlibraries.org/

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When a frustrated teenager, Mireille herself flirted with atheism. Or was it agnosticism? She couldn’t recall now what proud label she might have boasted of back then if she weren’t always so shy. In a series of sudden increments and entanglements with the outside, young Mireille had come to a form of realization that she could at the time encapsulate in the phrase “this world is bullshit!”

With so many angles at which to aim angst, that dour fury for a deceitful world presented to her daily would first find it’s big target with both the concept of God and how sanction houses implemented that concept upon us. As time went on, however, Mireille’s perception of “bullshit” refined. Yes, she came to realize, it was all that, in the sense that the bulk of our world was made up. Yet, she couldn’t say that it wasn’t “real.” She felt it. Everday.

So, if it all was real and likewise made up: “well then what does that say about the nature of reality?” she had questioned; “well then what does that say about me?” Does existence possess a complex geometry where opposed sides fold simply to be true and false simultaneously; where one should negate the other and thus both but don’t and in fact supports them together and perhaps much more? Like many teens she started to harbor these suspicions, but without the luxury of much of a lexicon to crowd them into shape, into an ethos—and so there was: this world is bullshit! Mireille began to feel that The World was nothing but ideas made manifest; condensed into a solid; a tangible vibration; a consequence of narratives; a frequency captured by the little shell of the ear; the collection of light by the adjustable assembly of lenses, tunics, apertures that is the eye; and all those other instruments; implemented in systems we’re born in and learn to inhabit…like currency for example…or race. As time went on, however, she came to realize that she could appositely replace the word “implemented” with that of “manipulated.”

At the age of seventeen she had spent the majority of one particular November afternoon at her local public library working on a report for school that pertained to the causes and outcomes of The Cold War. Seated at a laminate table crowded with splayed textbooks and a marble notebook, she fell away from the task at hand. After hours of study and note jotting she had grown bored by the “death strip” of the Berlin Wall, bored of dead Kennedy, bored of Premier Khrushchev, bored of primate-patriarch Reagan, and bored even by chants of “Tor auf!” (“Open the gate!”). The focus of her vision blurred towards the white between the printed words before her.

_______________________        -_-      _________________       _         _________________

Dendrites 8 CVR

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Another Part of You/Panic Struck – Souls Of Mischief & Adrian Younge

Boxcar – Jawbreaker

Black Ballerina – Ariel Pink [image by Леонид Калядин]

Little Ballerina/Ballerina’s Reprise – Emile Haynie (ft. Rufus Wainwright, Father John Misty, & Julia Holter)

Gold – Mikal Cronin [photo by Ward Robinson]

Hot Hot HotMatthew E. White

Windows – Deafheaven

God Knows Why – Nneka (ft. Black Thought)

Things That Are Bad For Me (Pt. I & II) – Colleen Green

Be Sweet – The Afghan Whigs

It Is What It Is – Blood Orange

Find Your Wings – Tyler, The Creator

Death Of A Party – Blur

Fkn Dead/Never Catch Me – Flying Lotus (ft. Kendrick Lamar) [image by Hiro Murai]

Shattered Winds – The Budos Band

Both Alive – Tall Tales And The Silver Lining

Last Year – Best Coast

How Come U Don’t Call Me Anymore – (♀)

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A MOUTHFUL OF PENNIES PRESENTS: DENDRITES (VOL. 8)

  • Another Part of You/Panic Struck – Souls Of Mischief & Adrian Younge
  • Boxcar – Jawbreaker
  • Black Ballerina – Ariel Pink 
  • Little Ballerina/Ballerina’s Reprise – Emile Haynie (ft. Rufus Wainwright, Father John Misty, & Julia Holter)
  • Gold – Mikal Cronin
  • Hot Hot Hot – Matthew E. White
  • Windows – Deafheaven
  • God Knows Why – Nneka (ft. Black Thought)
  • Things That Are Bad For Me (Pt. I & II) – Colleen Green
  • Be Sweet – The Afghan Whigs
  • It Is What It Is – Blood Orange
  • Find Your Wings – Tyler, The Creator
  • Death Of A Party – Blur
  • Fkn Dead/Never Catch Me – Flying Lotus (ft. Kendrick Lamar)
  • Shattered Winds – The Budos Band
  • Both Alive – Tall Tales And The Silver Lining
  • Last Year – Best Coast
  • How Come U Don’t Call Me Anymore – (♀)

_ _ _ __=========================================     ______BOBBY CALERO

If you dig the mix then please feel free to pass & post it along; if you dig a particular artist then please support them and go out and pick up some of their albums.

A MOUTHFUL OF PENNIES PRESENTS: DENDRITES (VOL. 7)

_ _____________________       _   _  _________________       _       _________________   _

It was not avoidance of some problem that she was advocating, but only a proper approach and perspective: understanding what truly was a problem and what was not. Where and when it could be found, she was for the compassion of laughter. Mireille pondered over the predominate perpetrators of violence on this planet and wondered if the males’ faculty for a certain aspect of acceptance had been frustrated and underdeveloped. Perhaps “acceptance” wasn’t the word she wanted, for enough of them seemed to be in love with a fallen world. No, maybe it was “reception,” or “tolerance,” or some other such word having to do with communication?

She couldn’t find it then but regardless questioned, “why not then let these thoughts inform and foster some work of art: a painting; song; or stand-up routine? At the very least they should let us laugh as they pass on by.” She believed that too few artists are encouraged in our world, and their work too quickly inspected for external utility or market potential. Comedians are poked to placate our revulsion. Our role as creator is repressed and in its stead we labor over cruel acts. “It’s like we’re prohibited from changing anything, really.” Beholden to a moribund heritage, we suffer in the name of habit and being consistent; “…being practical…but…practical for whose protocol? Don’t ask, you’ll suffer more.” We suffer for order.

For order we suffer.

“We are held hostage in someone else’s head…and in the end…and in our own. Regret will only get you ugly in the end.”

        She considered the device currently slipped within a little zippered pocket inside her purse: plastic, glass, semiconductor chips of silicon, and rare earth minerals molded and arranged into a slim rectangle of circuit boards and a touchscreen with a friendly graphic user interface…”a friendly gooey.” Contemplating all it was capable of—all of its known, numerous applications, the ones she hasn’t figured out yet and the ones she didn’t care to—she asked herself:

“We’re already living in the future…aren’t we? …Or as far as this future is gonna go, really. From here-on-out and for awhile now it’s all just restatements of a theme. Sure with a few innovative variations and tempo changes thrown in to keep us back-slap-smiling, ‘gee–whiz, how neat, this cutting-edge changes everything! Science will save us!’ But, shouldn’t we be somewhere else. Shouldn’t we be building biodegradable citadels for music, poetry, or, hell, a cathedral for aromatherapy…anything else really? All I see is thinner televisions. All I see are more heads bowed towards screens.

“Geez-Louise, I sound like an old lady…’back in my day we didn’t have all these fancy smellular phones and wifi-telebones, we had to use a drum!’…but…Shouldn’t we be busy with some other great work by this point? Why do we all feel excused from this? Why are so many of us excluded from this?

“Didn’t they tell us so long ago that we’ll be taking it easy from here-on-out? Aren’t they still selling that line?” For far too long now we’ve been trapped in this false landscape of muscles and dollars, this unsustainable sham of a one-way line stretched unhindered towards infinite and plastic futures—attributed to Darwin, healthy competition, and hard-earned progress. “Everything always backed by Darwin.” All those that suffer or benefit from the drought and locusts of a debt market so that a ham and cheese sandwich wrapped in cellophane might exist on some chain-restaurant’s theme-park counter could always seek solace, dismissal, and script in the arms of Saint Darwin. She felt sad for all those slighted people with Holy Daddy and/or Holy Mommy issues: who smugly announce themselves as atheists; who declare with a moral superior air, “I believe in science.”

“Yeah…well who doesn’t?”

_ _____________________                        _________________            _________________   _

Dendrites 7 CVR

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——————————-(Click to Listen or Download)—————–

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Zeno’s Law Of High-Heeled Shoes – Jim Carroll

Numbers – FKA Twigs

Rich – Yeah Yeah Yeahs

Forty Days & Forty Nights – Muddy Waters

Every Season – Tony Allen (ft. Damon Albarn & Ty)

Wonderwall To Be Here – George Harrison

Lost In The Woods – The Afghan Whigs

The One-Eye Two-Step – The Blackbyrds

Me And The Devil – Gil Scott-Heron (Robert Johnson cover)

The Water – BLKHRTS

Misbehave/She Might Get Shot – Juan Wauters

Cocaine Habit Blues – Memphis Jug Band featuring Hattie Hart [Art by: Robert Crumb]

Yassassin (Long Live) – David Bowie

Ysabel’s Table Dance – Charles Mingus

Black Skin Blue Eyed Boys – Equals

Breed – Nirvana

She Said She Said – The Beatles

When Your Number Isn’t Up – Mark Lanegan Band

Good God’s:// Urge! – Porno For Pyros

I Know We Could Be So Happy Baby (If We Wanted to Be) – Jeff Buckley (TheSpaceBubbles mix)

Farewell, Angelina – Bob Dylan (Bringing it All Back Home outtake) [photo by Jerry Schatzberg]

Niña – Eduardo Mateo [photo by Francesca Woodman]

My translation, feel free to comment if youv’e got a better one:

Little girl that always has a light
showing you what you do not want.

Do not fear the birds
if they say your life with their trills.

It should be that you understand;
that’s why what comes next is what has gone.

Always in a white dress,
you go but beware;

The devils in the guise of angels
will notice you talking.

Does it shame you that you don’t care
what has been soiled?

Yuu…yu-le-lé yu-lé.

….===================================  ======== == =    ==    =    = – __

_ _ _ __=========================================     ______
A MOUTHFUL OF PENNIES PRESENTS: DENDRITES (VOL. 7)
  • Zeno’s Law Of High-Heeled Shoes – Jim Carroll
  • Numbers – FKA Twigs
  • Rich – Yeah Yeah Yeahs
  • Forty Days & Forty Nights – Muddy Waters
  • Every Season – Tony Allen (ft. Damon Albarn & Ty)
  • Wonderwall To Be Here – George Harrison
  • Lost In The Woods – The Afghan Whigs
  • The One-Eye Two-Step – The Blackbyrds
  • Me And The Devil – Gil Scott-Heron (Robert Johnson cover)
  • The Water – BLKHRTS
  • Misbehave/She Might Get Shot – Juan Wauters
  • Cocaine Habit Blues – Memphis Jug Band featuring Hattie Hart
  • Yassassin (Long Live) – David Bowie
  • Ysabel’s Table Dance – Charles Mingus
  • Black Skin Blue Eyed Boys – Equals
  • Breed – Nirvana
  • She Said She Said – The Beatles
  • When Your Number Isn’t Up – Mark Lanegan Band
  • Good God’s:// Urge! – Porno For Pyros
  • I Know We Could Be So Happy Baby (If We Wanted to Be) – Jeff Buckley (TheSpaceBubbles mix)
  • Farewell, Angelina – Bob Dylan (Bringing it All Back Home outtake)
  • Niña – Eduardo Mateo

_ _ _ __=========================================     ______BOBBY CALERO

If you dig the mix then please feel free to pass & post it along; if you dig a particular artist then please support them and go out and pick up some of their albums.

A MOUTHFUL OF PENNIES PRESENTS: DENDRITES (VOL. 3)

_____________________                       _________________                      _________________   _

On to the next moment.

      Was that our allotted life, an incessant testing of the tensile limits of these near imperceptible vacuums that in part comprise our cognizance? This followed by a fleeting recess in order that we may measure our instruments. To quote Peggy Lee quoting Jerry Leiber quoting Thomas Mann: “Is that all there is?” Is that all there is:——spill-and-coil-and-witness-and-move—spill-and-coil-and-witness-and-move—spill-and-coil-and-witness-and-move—spill-and-coil-and-witness-and-move—spill-and-coil-and-witness-and-move—spill-and-coil-and-witness-and-move—spill-and-coil-and-witness-and-move—spill-and-coil-and-witness-and-move—spill-and-coil-and-witness-and-move—spill-and-coil-and-witness-and-move——

No! There’s more. How often do we forget that what we discover with these instruments is a truth only relative to the instrument implemented? Yet, we habitually live here in the echo of a crowded hollow; we inhabit a theater we for our part create.

It was no wonder we often feel that life might only be maneuvered through by becoming one’s own audience. It was no wonder we sometimes notice that we’ve slid into a center seat in a middle aisle. We watch the film: spliced, taped, and scored towards a recognizable narrative structure and genre by young, conglomerate chimeras we call the self. This conceptual substitution—this thing that seemed to be formed from a slack mass of compacted fragments, while each particle of these fragments themselves are likewise only but a pile of disparate measures, which cling like wet garments and remain so by a mutual pursuit of functionality—this bundle.

Say the word: self. Say it again: self. Say the little syllable: self. Say it again: self. Feel how it plays alone at the utmost edge of your mouth—of you.

      Self. A concise whistle along the middle curl of a mass of lashed muscles suspended in the mouth; then with a succinct roll of the vocal cords comes that tap of the tongue where the enamel scoop of the maxillary central incisors (11 and 21) taper to sit in the alveolar ridge; subsequently, under another continuous stream of breath, the vocal folds cease to vibrate as the bottom lip softly presses at the caps of the top front teeth: self. Is that us; is this entity best encapsulated and best described by the catchall, audible, mechanical wave of pressure and displacement that results from this sequence of events? Was there an entity somewhere in that closed order? Culture the whole world over seemed a ceremony to honor that closed order.

Say the word: self. Say it again: self. Listen. Say the silly little syllable: self. Say it again: self. Listen to the sound: self.

Then there was the chomp on nothing that produces the little letter I.

      Self and I, a myriad of supple mirrors and chromatic lenses perpetually rearranged through the fluid to intimate the infinite image guessed at as required by a particular moment. Believed by whom? Who is it that plays interior decorator with these reflective planes and colored, gelatin filters? Where is it? What should we call it?

_____________________                        _________________                      _________________   _

dendrites 3 cvr

-_______________________________   ——  —  ——–  _______________ –  __
——————————-(Click to Listen or Download)—————–
.===================================  ======== == =    ==    =    = – __

Licorice (The Beginning)/Fällig – Madlib

Buy Her Candy – Sleater-Kinney

Prince-Parade-era

Crystal Ball – [******]

If You Got Funk, You Got Style (Voodoo sessions outtake riff) – D’Angelo

Dirty Boys – David Bowie

Pusher Love Girl – Justin Timberlake

Continental Shelf – Viet Cong

The-Soft-Boys-Love-Poisoning-563351

Leppo and The Jooves – The Soft Boys

Marquee Moon – Television

Clue One – Trent Reznor & Atticus Ross

Trimm Trabb/No Distance Left To Run/Optigan 1 – Blur

Lady, Your Roof Brings Me Down – Scott Weiland

See My Lord/Hades’ Lady/From The Day That You Were Born – Pop Levi

Metallic Cloud – Damien Jurado

(police cars and dogs) – Eat The Document soundtrack

.
_ _ _ __=========================================     ______
A MOUTHFUL OF PENNIES PRESENTS: DENDRITES (VOL. 3)
  • Licorice (The Beginning)/Fällig – Madlib
  • Buy Her Candy – Sleater-Kinney
  • Crystal Ball –  [Prince logo.svg]
  • If You Got Funk, You Got Style (Voodoo sessions outtake riff) – D’Angelo
  • Dirty Boys – David Bowie
  • Pusher Love Girl – Justin Timberlake
  • Continental Shelf – Viet Cong
  • Leppo and The Jooves – The Soft Boys
  • Marquee Moon – Television
  • Clue One – Trent Reznor & Atticus Ross
  • Trimm Trabb/No Distance Left To Run/Optigan 1 – Blur
  • Lady, Your Roof Brings Me Down – Scott Weiland
  • See My Lord/Hades’ Lady/From The Day That You Were Born – Pop Levi
  • Metallic Cloud – Damien Jurado
  • (police cars and dogs)  – Eat The Document soundtrack

__________——–_________________        -_______

——————————————-BOBBY CALERO—————————–

A MOUTHFUL OF PENNIES PRESENTS: DENDRITES (VOL. 2)

Mireille had grown weary of feeling that our experience of existence had unavoidably resulted in a tape delay.

“We are held hostage in someone else’s head…and in the end…and in our own. Regret will only get you ugly in the end.”

She considered the device currently slipped within a little zippered pocket inside her purse: plastic, glass, semiconductor chips of silicon, and rare earth minerals molded and arranged into a slim rectangle of circuit boards and a touchscreen with a friendly graphic user interface. Contemplating all it was capable of—all of its known, numerous applications, the ones she hasn’t figured out yet and the ones she didn’t care to—she asked herself:

“We’re already living in the future…aren’t we? …Or as far as this future is gonna go, really. From here-on-out and for awhile now it’s all just restatements of a theme, sure with a few innovative variations and tempo changes thrown in to keep us back-slap-smiling, ‘gee–whiz, how neat, this cutting-edge changes everything! Science will save us!’ But, shouldn’t we be somewhere else?

“Shouldn’t we be somewhere else and doing something other by now?”

A sudden nudge—Mireille felt a petite twitch of an impulse to check for updates and status changes. She rolled back the teeth of a zipper, then another, and pulled the phone from her bag. After a swipe, tap, tap, tap, tap of an index finger, another tap brought her to her home page. Lately, every time she logged in to her YouLoop account, over the remote din of row upon row of massive servers roaring away at some installation on a rural sprawl, an advert for an apparel company would pop-up with polished photos of professional mannequins—all so slender and young, all so pale-pink and fair-peach in skin tone, some sullen in denim, others with open mouths in graphic tees cavorting across the afternoon gloss of an open field—all asking in a bold white font atop a black background:

Who will be

“How the hell should I know?” Mireille said to herself. “How could anyone, when we don’t even know what these bundles of qualities we carry and call the self is right now at this moment?” After a distracted scroll down her digital profile’s wall, she logged off. Her phone was returned to its place.

Mireille had grown weary of feeling that our experience of existence had unavoidably resulted in a tape delay. Her suspicion was one of a procession of intervals. Each arriving on the heels of the other, there was enough space for our consciousness to spill a portion of its contents until they coil up to that moment’s capacity. Consciousness, that capo di tutti capi, with its arrogant tap to its bucket snout, yet so unaware of the sway on our days held by flora in the gut and all that other bacteria.

Once full we move on to the next container, but not before an often-inarticulate logging of our impressions on each repetitive step and making a remark or two about every noticeable variable. These recorded findings then color our notes on the subsequent one. Was that our allotted life, spinning on a color wheel? It is as if all our moments were truly only and always movements—some busy derivation from the game of hopscotch.

We scratch symmetry across the surface. We toss the little wet stone of our mind out into an interspersed series of linear and lateral blocks. We dance to retrieve it. We repeat the pattern.

However, here each lope and lollop to another square necessitates the player to perform a change of clothes to correspond with the color assigned to that box, while still taking into account the hue and tint from which they came. We amend our raiment—through Primary to Secondary to Tertiary—and every which way shade between. We slip on robust costumes and strut our feathers. Sometimes we are caught by the garish contrast of a complimentary pair and are required to dress in all white or all black. At other times our skitter through the squares causes us to consider too many pigments and we are left to squirm under attires like mud or wet cinder. But another hop could change all that: just a footstep away from that soot. One is almost certain that if they were to continue to play the game through they’d eventually land upon a true hue of you.

In our gambol across the grid we create relationships. We celebrate. We snicker. We share secrets.

In addition to this facet of the game, where catwalk runway and dressing room coalesce, we mustn’t forget the squares’ designated numbers and verse from their attendant Magpie Rhymes:

Zero for Earth;

One for sorrow,

Two for mirth;

Three for a wedding,

Four for birth;

Five for wealthy,

Six for poor;

Seven for some secret,

Forgotten Door;

Eight for a wish of Heaven,

Nine for a kiss of Hell;

And Ten a surprise for the Devils,

Who pray you get well!

_____________________                                 _________________                      _________________   _

Dendrites 2 cvr_______________________________   ——  —  ——–  _______________ –  __

——————————-(Click to Listen or Download)—————–

===================================  ======== == =    ==    =    = – __

Intro – Martina Topley-Bird

Oh Yeah – Foxygen

Every Boy and Girl – Lee Moses

Needles & Pins [alt. take] – Ramones

Let It Kill You – Imani Coppola

Looks Good With Trouble – Solange

Time 2 – Pharoahe Monch

Battling the City – Lilacs & Champagne

Your Brain Is Made of Candy – Mourn

Water – Juan Wauters

Clean [snippet] – Taylor Swift

New Mutation Boogie – Invisible Familiars

Gamma Ray (acoustic version) – Beck

Someone Like You – David Vandervelde

Sadder Day – Stephanie McKay

Fade Away And Radiate – Blondie

Laughing With A Mouth Of Blood – St. Vincent

Trouble Blues – Sam Cooke

U Looz – PRhyme (Royce da 5’9″ and DJ Premier)

Gimme A Chance – Azealia Banks

I Retired – Hamilton Leithauser

Poison – Martina Topley-Bird

Call The Law – Outkast (ft. Janelle Monáe)

Corner Pocket – Count Basie & His Orchestra

Biting My Nails – Genevieve Waite

Parakeet – Damon Albarn

Naked We Come– (by Jim Morrison – read by Johnny Depp)

______________———-___=========================================

A MOUTHFUL OF PENNIES PRESENTS: DENDRITES (Vol. 2)

  • Intro – Martina Topley-Bird
  • Oh Yeah – Foxygen
  • Every Boy and Girl – Lee Moses
  • Needles & Pins [alt. take] – Ramones
  • Let It Kill You – Imani Coppola
  • Looks Good With Trouble – Solange
  • Time 2 – Pharoahe Monch
  • Battling the City – Lilacs & Champagne
  • Your Brain Is Made of Candy – Mourn
  • Water – Juan Wauters
  • Clean [snippet] – Taylor Swift
  • New Mutation Boogie – Invisible Familiars
  • Gamma Ray (Acoustic) – Beck
  • Someone Like You – David Vandervelde
  • Sadder Day – Stephanie McKay
  • Fade Away And Radiate – Blondie
  • Laughing With A Mouth Of Blood – St. Vincent
  • Trouble Blues – Sam Cooke
  • U Looz – PRhyme (Royce da 5’9″ and DJ Premier)
  • Gimme A Chance – Azealia Banks
  • I Retired – Hamilton Leithauser
  • Poison – Martina Topley-Bird
  • Call The Law – Outkast (ft. Janelle Monáe)
  • Corner Pocket – Count Basie & His Orchestra
  • Biting My Nails – Genevieve Waite
  • Parakeet – Damon Albarn
  • Naked We Come – (by Jim Morrison – read by Johnny Depp)

__=========================================     ______

——————————————-BOBBY CALERO—————————–

A MOUTHFUL OF PENNIES PRESENTS: AZ— VOLUME 1

Hello all,

Welcome to the first post of what is set to be quite a long form MixTape. With a whole other slew of priorities and projects currently occupying both my plate and back-burner, here is my solution to keep this blog going steady and fun for the moment. This is something I see as a perfect medley of autopilot and challenge. I am creating this AZ series of mixtapes by selecting one song to represent each artist’s work up on my CD shelf. Yes, that is from an actual physical CD–as for now I won’t attempt to tackle the 10,000-plus “items” stored up digitally on my computers.

Taking this on from A and continuing through the entirety of the alphabet until I touch down upon Z, this certainly provides direction and a forward momentum of its own. However, the challenge lies in selection and finding a flow to thread it all together. In a pursuit for clarity I am going to skip all the various compilations, soundtracks, tribute albums, genre box-sets, and the like that I own on CD. Perhaps I’ll create one for just those someday.

In addition, I plan on pairing each song with a line or two of quick poetic impression. Utilizing each track as a mandala—a target for focus—or perhaps as a prism to refract thought, I think of this aspect of the AZ project as a Solitaire variation on the Surrealists’ game of Exquisite Corpse. Once all that is completed my intention is to present them stitched and somewhat refined in structure at the bottom of the post. Hopefully in the end I’ll have a few good poems to show, but even that concept of “good” doesn’t seem all that important for this project. A psychic investigation and a form of exercise to keep my imagination limber and help the creative juices to continue to flow: sure this may all be a bit self-indulgent, but hell, what isn’t in this world?

Now I know that these scribbles may only serve to distance the listener from the core of these artists’ work, as opposed to hinting at a new lens to view them; so I invite you all to create your own and if you like feel free to post them in the comments section below.

Although every song found on these might not be what I normally would present on a mix, or even be something I’d typically recommend, I’m positive the results will at least be more interesting than a standard music block on your radio. I must admit that in the case of some of this music I might not have listened to it in over two decades, and I’m sure that there will be a few I’ve actually never listened to more than once if at all. However, I must say, I’m pretty pleased with how this first one came out.

So click below to commence what is sure to be a long, long, long and bumpy ride.

…and as always,

–ENJOY YOURSELF–

AZ-- Volume 1

————-(CLICK TO LISTEN & DOWNLOAD)———————-

AZ VOLUME 1

S.O.S. – ABBA (from The Millennium Collection)

Between The Bridge And The Chapel – The Actual (from In Stitches)

Nobody Girl – Ryan Adams (from Gold)

What It Takes – Aerosmith (from Pump)

When We Two Parted – The Afghan Whigs (from Gentlemen)

Five Star Life – Damon Albarn (from Democrazy)

Over Now – Alice In Chains (from Alice In Chains [Tripod])

Tricky Dick – Ben Allison (from Cowboy Justice)

Little Martha – The Allman Brothers Band (from Eat A Peach)

Color Humano – Almendra (from Almendra 1)

Do Fa Self – Apache (from Apache Ain’t Shit)

Slowly/Slowly (dub) – Aphrodesia (from Shackrobeat Vol. 1)

On The Bound – Fiona Apple (from When The Pawn…)

Talk To Her – India.Arie (from Voyage To India)

A——————————————————  — —     — ————- ———Z

O how the desperate learn to dance upon the decks by any means.

S.O.S. ABBA (from The Millennium Collection)

—————————————— — – –              —         —–   ——————–

The four-cornered barb is cast out with the twine unwound into the grit of young love.

Between The Bridge And The ChapelThe Actual (from In Stitches)

————————   —————  —  ————————                      —               —

some-come—some-go—some-come again—

some are forced to live forever

sealed-over under

the masks of Thalia and Melpomene.

Nobody GirlRyan Adams (from Gold)

———————————-      —- –     –     –       ————–   –     —-  ————-    –   —

Back then you could kick and feel

often

enough

but now all that’s been hammered so thin…like fine iron.

What It TakesAerosmith (from Pump)

———-   – ———————–  —  –       ——-  ——   –  –   —-  ——    ——    –   —      –

So we slip on in our robust costumes and roll forward; stumble from stoop to doorstep to pillow, but we don’t stop.

—Stop!

—Sleep!

When We Two PartedThe Afghan Whigs (from Gentlemen)

————-          –      ———————- — – –     —     —    –     —–   ——–  —   –  ———  –

Here we are in America, where the brittle are given some fluids to shine,

—nail polish and dentures—

and if they’re lucky, for a rare majority, their very own television show.

Five Star LifeDamon Albarn (from Democrazy)

– –    —     ————————  — — –    —————– —        –   –   –  –   –    ———————————— ———-

The seep and chime from pipes of lead, the stabbed then dead, the sop of thin blood,

—Stop!

—Sleep!

Over NowAlice In Chains (from Alice In Chains [Tripod])

———— —-    —————— ——     –   – – – ——        –        ———————   ———- —

Hormones may roil about us,

but I’ll make you love me one day on this boat from which we paddle.

Tricky Dick Ben Allison (from Cowboy Justice)

———–  – —       –        ———–    —-    –         – ————- —    – – ———    — –

We get clean, we get well, some-come-heaven—some-go-hell—

Little Martha The Allman Brothers Band (from Eat A Peach)

——————-   —   ——————————  —-       –      —     ———————-     —       ————————  –

The far river shore is boiled down to serve as a window of stained glass, through which we may peer out at the near river shore.

Color HumanoAlmendra (from Almendra 1)

——————————- —- ———-    —-          ————————- – –        ——- – –    —–

It’s all a juggle

of tinfoil balls that bounce, and hubris, and hurt…

Do Fa Self Apache (from Apache Ain’t Shit)

–          —             —            —        —   –        —- ——-      ———–  —     —    —    – –     ———  –

—slowly, slowly, slowly we bloom— slow we come towards the honest blossoms of orgasm.

Slowly/Slowly (dub)Aphrodesia (from Shackrobeat Vol. 1)

— – —————- —  — – – – – – – – – —————–     ———- — – – – — – ———————   –

We hunger for patterns on which we may spit the weight and fret of all our coils.

On The BoundFiona Apple (from When The Pawn…)

—- —- —  — —–   —– ——— ———- — – — ——-       —     ———- ————  —– — – — – – – – – – – – – – – – – –    —

…and spill and coil and spill and coil and spill and coil…and spill…and coil…and speak

Truth

with soil on our tongues…

…say so slowly…

Talk To HerIndia.Arie (from Voyage To India)

————— – ——————- —     —————- — — ————–  — ———

AR (Are We Still Swimming?)

O how the desperate learn to dance upon the decks by any means:

The four-cornered barb is cast out with the twine unwound into the grit of young love.

some-come—some-go—some-come again—

some are forced to live forever

sealed-over under

the masks of Thalia and Melpomene.

Back then you could kick and feel

often

enough

but now all that’s been hammered so thin…like fine iron.

So we slip on in our robust costumes and roll forward; stumble from stoop to doorstep to

pillow, but we don’t stop.

—Stop!

—Sleep!

Here we are in America, where the brittle are given some fluids to shine,

—nail polish and dentures—

and if they’re lucky, for a rare majority, their very own television show.

The seep and chime from pipes of lead, the stabbed, then dead, the sop of thin blood,

—Stop!

—Sleep!

Hormones may roil about us,

but I’ll make you love me one day on this boat from which we paddle.

We get clean, we get well, some-come-heaven—some-go-hell—

The far river shore is boiled down to serve as a window of stained glass,

through which we

may peer out at the near river shore.

It’s all a juggle

of tinfoil balls that bounce, and hubris, and hurt…

—slowly, slowly, slowly we bloom— slow we come towards the honest blossoms

of orgasm.

We hunger for patterns on which we may spit the weight and fret of all our coils…

…and spill and coil and spill and coil and spill and coil…and spill…and coil…and speak

Truth

with soil on our tongues…

                                   …say so slowly…

————————————    ————

———All the best to you and yours,

——————————Bobby Calero——————— — —

A MOUTHFUL OF PENNIES PRESENTS: PLAYING IN THE DIRT (LOU REED; R.I.P.)

“There’s a bit of magic in everything, and then some loss to even things out/Pass through the fire to the light.”  —Lou Reed, R.I.P. (1942-2013)

— — — –

Lou Reed: Playing In The Dirt (Vol. 1, 1967-1972)

————-______________\/\/\/\/\/\/\/\/\/\/\/

————————————————————-

Lou Reed: Playing In The Dirt (Vol. 2, 1973-1976)

————-______________\/\/\/\/\/\/\/\/\/\/\/

————————————————————-

Lou Reed: Playing In The Dirt (Vol. 3, 1977-1987)

————-______________\/\/\/\/\/\/\/\/\/\/\/

—————————————————

Lou Reed: Playing In The Dirt (Vol. 4, 1989-2003)

————-______________\/\/\/\/\/\/\/\/\/\/\/

————————————————————-

Lou Reed: Playing In The Dirt (Vol. 5, 2003-2011)

————-______________\/\/\/\/\/\/\/\/\/\/\/

——————————-(Click to Listen or Right-Click-Save-As to Download)—————–================__^__===================  ===  _ ===== == =   = =  __  _

——————————————->

It seems an unaccountable pleasure, which the spectators

of a well-written tragedy receive from sorrow, terror, anxiety,

and other passions, that are in themselves disagreeable and

uneasy. The more they are touched and affected, the more are

they delighted with the spectacle; and as soon as the uneasy

passions cease to operate, the piece is at an end. One scene of

full joy and contentment and security is the utmost, that any

composition of this kind can bear; and it is sure always to be

the concluding one. If, in the texture of the piece, there be

interwoven any scenes of satisfaction, they afford only faint

gleams of pleasure, which are thrown in by way of variety, and

in order to plunge the actors into deeper distress, by means of

that contrast and disappointment. The whole art of the poet is

employed, in rouzing and supporting the compassion and

indignation, the anxiety and resentment of his audience. They

are pleased in proportion as they are afflicted, and never are so

happy as when they employ tears, sobs, and cries to give vent

to their sorrow, and relieve their heart, swoln with the tenderest

sympathy and compassion.

                                                                          —DAVID HUME: Of Tragedy

—————————————————————————–

lou-reed-creem

When I was roughly 14 or 15 years old, either by accident or by providence an open and unmarked package was left on my mother’s welcome mat. Upon flipping back the cardboard tabs I discovered that it was filled with box sets for various recording artists: Merle Haggard: down every road (1962-1994); King Of The Road: The Genius Of Roy Miller; Eddy Arnold Then And Now: Last of The Love Song Singers; Chris LeDoux: American Cowboy; and one titled  Between Thought and Expression: The Lou Reed Anthology. At the time I was obsessed with Nirvana’s In Utero, which served as a brilliant, sonic astringent in the open head-wound a great deal of my generation felt after Cobain’s suicide. As I had read of The Velvet Underground’s influence on Nirvana’s craft (and as I was also fairly regularly watching re-runs of the Eddie Murphy era of Saturday Night Live and felt that the rough looking little man dressed in leather, denim, and gazing blankly up and beyond from behind dark sunglasses was the spitting image of Joe Piscopo) it was Lou Reed’s box set that I opened first. Also, considering the other sets were all country, a genre I had yet to appreciate, my selection was inevitable. I was forever after altered.

Covering Lou Reed’s solo recording career from the years of 1972 to 1988, this generous three CD set sent my teenage mind reeling. Whether a precision driven mutation of Spector or Doc Pomus pop; a doo-wop ramble from a loose and smeared lipstick sneer atop glam hand-claps; a swallow of feedback loops; a two-chord boogie around the bend of a soaring  guitar-solo; a wet cough from a dry bed (or vice versa); a caustic blast from blistered veins and popped pupils; a repetitive drone and jangle; a bitter lament; a sweet elegy; a shrug of regret or derision; an ache; fucked-up tales of creatures of habit and their escape attempts, either through just some Good-Time Charlie out for a little fun or through one of the most radical forms of self-discovery—pure reinvention; fucked-up tales where morals still matter but luck either good or bad reigns as the highest law of the land; manic-depressive ballads; the stomp and circumstance of disco and chemical jazz; a show-tune shuffle; Broadway hustle; or a swoop-swoop–rock-rock;  a sound from another room…a curse? No, laughter…they’re having a good time in there; a bottle-bloated crack-up now a dried up convalescent attempting to appreciate a simple, perfect day with his girl in a rooftop garden; a grind of electric current that converts all literature into mercury; a muttered dismissal of “I don’t give a shit, I’m just trying to make the rent” (Halle, 2000); or just a sole tender voice telling someone, “hey, I get it, I understand;”—whether any of these things and certainly a whole lot more, it all sounded like someone who had gained a little wisdom from playing in the dirt; it all sounded like someone doing what they wanted and wanting to do it as best they could; it all sounded like someone searching; whether anyone wanted to admit it or not, it all sounded like someone’s world: –it all sounded like poetry…and oh what a sound it was.

lou-reed4

The following Christmas, at my request, I received a copy of The Best of The Velvet Underground: Words and Music of Lou Reed.

Whether bacteria or art—it was culture. Yes, it was art, music, sex, drugs, friendship, fiends, and, even if it was ugly at times, it was romantic. It was sorry without apology; it was sometimes idiots getting second-chances down dead ends…sometimes not; it was beauty with a wicked sense of humor—it was America, or what I knew of it (say, for example his mention in “Kill Your Sons” of a childhood stay at Creedmoor, a mental hospital within walking distance from my house). It was America, and all I wanted to know of it at the time: the 5 boroughs of New York City.

  All the albums I put out after this are going to be things I want to put out. No more bullshit, no more dyed hair, faggot junkie trip. I mimic me better than anyone else, so if everybody else is making money ripping me off, I figure maybe I better get in on it. Why not? I created Lou Reed. I have nothing even faintly in common with that guy but I can play him well—- really well.– Lou Reed.

Lou Reed Live album advert, 1975.

To address the epigraph that begins this piece, Reed’s work can undoubtedly be a thrilling spectacle, but it remains one with more depth than mere titillation. His songs are ones where “The whole art of the poet is employed.” Furthermore, It does not matter whether his subject is the depraved or lost suffering beneath the heel of The Statue of Bigotry, a kiss-off comic or cold, a fun rocker, a vague one of kindness and affection, or about the body and all it requires in this world: Lou Reed had an exceptional gift for creating an urgent sense of intimacy within his music. No matter what, you were always assured that you belong there listening to that song at that moment. For certain, It is this intimacy that grants any “uneasy passions” its power to affect the audience, the listener, you.

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Coney Island Baby photo shoot by Mick Rock, 1975

January 1, 1970

Although, admittedly, it might have been another decade before I could truly appreciate the full emotional resonance of some of the songs, and I’m quite sure others have yet to reveal their full essence to me. Take for example, “Pale Blue Eyes,” a song which I always loved but did not get, not until it was too late or right on time; when I was living with it:

Pale Blue Eyes

Sometimes I feel so happy,

Sometimes I feel so sad.

Sometimes I feel so happy,

But mostly you just make me mad.

Baby, you just make me mad.

Linger on, your pale blue eyes.

Linger on, your pale blue eyes.

Thought of you as my mountain top,

Thought of you as my peak.

Thought of you as everything,

I’ve had but couldn’t keep.

I’ve had but couldn’t keep.

Linger on, your pale blue eyes.

Linger on, your pale blue eyes.

If I could make the world as pure and strange as what I see,

I’d put you in the mirror,

I put in front of me.

I put in front of me.

Linger on, your pale blue eyes.

Linger on, your pale blue eyes.

Skip a life completely.

Stuff it in a cup.

She said, “Money is like us in time,

It lies, but can’t stand up.”

Down for you is up.

Linger on, your pale blue eyes.

Linger on, your pale blue eyes.

It was good what we did yesterday.

And I’d do it once again.

The fact that you are married,

Only proves, you’re my best friend.

But it’s truly, truly a sin.

Linger on, your pale blue eyes.

Linger on, your pale blue eyes.

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I have spent the intervening years attempting (when funds permitted and the mood struck) to collect all that Lou Reed has created, and his art has certainly served as a boon for my own more than once. No, it never lured me to say to myself “hey, let’s try to have fun with heroin,” and it did not persuade me to any perversion that was not true to my self: Lou never led me astray. If anything, my admiration for this artist has only aided me in discovering my self, and perhaps to understand human nature as a whole a little bit better. Personally, at that age I had just begun to experiment with the creative act of writing, and here by chance landing on my doorstep was a body of work that further proved you were permitted to do what you want; you could have your own point of view and express it too. You are allowed to pursue your muse with all sincerity and discipline wherever she might lead. You can tell it from the man who has to hike the streets, who has to take his dogs out on the sidewalks, occasionally dodging the nightmare of traffic. You were permitted to tell it from the man who knew love was awkward, and all the more glorious and real for being so. –No, to be more precise, you did not need permission at all; you only had to do it, but you damn sure should endeavor to do it well.

As you all are likely well aware of, Lou Reed died on a Sunday morning this past October 27, 2013 at the age of 71. By all accounts, he may have been more than a little acerbic (which is what you call an artist when he acts like a prick; on several occasions my cousin had delivered packages to his door and Reed would rarely acknowledge that there was another human present and always refuse to sign for the parcel), but he also seemed rather sincere, particularly where it perhaps mattered most to him—in his imagination, with his art.

New York, 1977

 

Concerning the creative act, in July of this year Reed wrote:

 […] I have never thought of music as a challenge —

you always figure, the audience is at least as smart as you are.

You do this because you like it, you think what you’re making

is beautiful. And if you think it’s beautiful, maybe they’ll think

it’s beautiful. You make stuff because it’s what you do and you

love it.

Prior, during his keynote address at the 2008 South by Southwest festival, before he went on to mock the belief that a songwriter needed any “qualifications for lyrics,” Reed touched upon on the same topic of writing and was quoted as saying:

I don’t know how it works or why it works or what it has to

do with anything. The thing I’ve got going for me is instinct.

I can feel it; I try not to think. Thinking won’t get me where I

want to go (Pareles).

In 1987, concerning his own great and still growing body of work, Lou Reed told Rolling Stone:

All through this, I’ve always thought that if you thought of all

of it as a book then you have the Great American Novel, every

record as a chapter, They’re all in chronological order. You take

the whole thing, stack it and listen to it in order, there’s my Great American Novel (Dolan, 2013).

So, It is in the spirit of presenting an abridged version of that “Great American Novel”—a teaser if you will—that I come to you today. This is also my attempt to repay that generous gift that landed on my doorstep back in 1995, so that others too may be taught what was learned from one man playing in the dirt. In her article for NPR, What Lou Reed Taught Me, I believe Ann Powers might have put it best when she described Reed’s core message as “[…] opening up your being—to sex or drugs or just to feeling—is inevitable, dangerous and the main purpose of life.”

Here is a multi-volume (and yet still all-too-brief to complete the picture) MixTape of this artist’s work through the years. I highly recommend you take a day and let his tell-tale heart roll through. More so, as I do not consider this a best of, or greatest hits package, nor are these necessarily my favorite songs but only an attempt to intimate the breadth of the man’s work, I truly implore you to pick up any and all of the works these tracks were collected from, as they do work their magic best when within their original context—or within their particular chapter of Reed’s “Great American Novel.”

Hopefully you too will be forever after altered.

—————- —-      —       –

P.S.

Reed’s wife,  Laurie Anderson, wrote this moving tribute to her late husband, which appeared in the obituary column for the October 31st. edition of The East Hampton Star:

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To our neighbors:

What a beautiful fall! Everything shimmering and golden and all that incredible soft light. Water surrounding us.

Lou and I have spent a lot of time here in the past few years, and even though we’re city people this is our spiritual home.

Last week I promised Lou to get him out of the hospital and come home to Springs. And we made it!

Lou was a tai chi master and spent his last days here being happy and dazzled by the beauty and power and softness of nature. He died on Sunday morning looking at the trees and doing the famous 21 form of tai chi with just his musician hands moving through the air.

Lou was a prince and a fighter and I know his songs of the pain and beauty in the world will fill many people with the incredible joy he felt for life. Long live the beauty that comes down and through and onto all of us.

— Laurie Anderson
his loving wife and eternal friend

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—Enjoy yourself.

Lou Reed: Playing In The Dirt (Vol. 1, 1967-1972)

Lou Reed: Playing In The Dirt (Vol. 1, 1967-1972)

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Lou Reed: Playing In The Dirt (Vol. 2, 1973-1976)

Lou Reed: Playing In The Dirt (Vol. 2, 1973-1976)

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Lou Reed: Playing In The Dirt (Vol. 3, 1977-1987)

Lou Reed: Playing In The Dirt (Vol. 3, 1977-1987)

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Lou Reed: Playing In The Dirt (Vol. 4, 1989-2003)

Lou Reed: Playing In The Dirt (Vol. 4, 1989-2003)

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Lou Reed: Playing In The Dirt (Vol. 5, 2003-2011)

Lou Reed: Playing In The Dirt (Vol. 5, 2003-2011)

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——————————-(Click to Listen or Right-Click-Save-As to Download)—————–================__^__===================  ===  _ ===== == =   = =  __  _

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All cover layouts & designs by Keri Kroboth-Calero

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Tracklisting:

A Mouthful Of Pennies Presents

Lou Reed: Playing In The Dirt (Vol. 1, 1967-1972)

  • “We’re Coming Out.” (radio promo)
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  • I’m Waiting For The Man
  • The Black Angel’s Death Song

[from The Velvet Underground & Nico by The Velvet Underground (1967)]

  • Here She Comes Now (Demo)

(White Light/White Heat Demo, featured on Peel Slowly & See [Box set])

  • Here She Comes Now
  • White Light/White Heat

[from White Light/White Heat by The Velvet Underground (1968)]

  • Hey Mr. Rain
  • Stephanie Says

[Studio outtakes by The Velvet Underground (1968), featured on Peel Slowly & See [Box Set])

  • Candy Says
  • Pale Blue Eyes
  • That’s The Story Of My Life

[from The Velvet Underground by The Velvet Underground (1969)]

  • Who Loves The Sun
  • I Found A Reason
  • Cool It Down
  • Oh! Sweet Nuthin’

[from Loaded by The Velvet Underground (1970)]

  • So In Love

[Lou Reed solo acoustic demo, Autumn 1970]

  • I Can’t Stand It
  • Lisa Says
  • Ocean

[from Lou Reed by Lou Reed (1972)]

  • Vicious
  • Andy’s Chest
  • Walk On The Wild Side
  • Satellite Of Love

[from Transformer by Lou Reed (1972)]

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A Mouthful Of Pennies Presents

Lou Reed: Playing In The Dirt (Vol. 2, 1973-1976)

  • Berlin
  • Caroline Says I
  • How Do You Think It Feels
  • Oh Jim
  • Caroline Says II

[from Berlin by Lou Reed (1973)]

  • Intro / Sweet Jane/ Rock ‘N’ Roll

[from Rock N Roll Animal, recorded Live, Dec. 21, 1973, Howard Stein’s Academy of Music in New York]

  • Baby Face
  • Kill Your Sons
  • Sally Can’t Dance

[from Sally Can’t Dance by Lou Reed (1974)]

  • Metal Machine Music (edit)

[from Metal Machine Music by Lou Reed (1975)]

  • Downtown Dirt

[Coney Island Baby Outtake, recorded January 3 & 4, 1975 at Electric Lady Studios, NYC]

  • Nobody’s Business
  • Coney Island Baby

[from Coney Island Baby by Lou Reed (1975)]

  • A Sheltered Life
  • Follow The Leader
  • Vicious Circle
  • Temporary Thing

[from Rock And Roll Heart by Lou Reed (1976)]

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A Mouthful Of Pennies Presents

Lou Reed: Playing In The Dirt (Vol. 3, 1977-1987)

  • Street Hassle

   A. Waltzing Matilda

   B. Street Hassle

   C. Slipaway

  • I Wanna Be Black

[from Street Hassle by Lou Reed (1978)]

  • Disco Mystic
  • City Lights
  • The Bells

[from The Bells by Lou Reed (1979)]

  • America (Star Spangled Banner)

[Growing Up In Public Outtake (1980)]

  • Teach The Gifted Children
  • The Power Of Positive Drinking

[from Growing Up In Public (1980)]

 

  • Underneath The Bottle
  • The Gun
  • Waves Of Fear

[from The Blue Mask by Lou Reed (1982)]

  • Little Sister

[from Get Crazy soundtrack, recorded Nov.-Dec. 1982]

  • Turn Out The Light
  • The Last Shot

[from Legendary Hearts by Lou Reed (1983)]

  • Turn To Me
  • What Becomes A Legend Most (snippet)
  • High In The City

[from New Sensations by Lou Reed (1984)]

  • Video Violence

[from Mistrial by Lou Reed (1986)]

  • Voices Of Freedom

[recorded live March 1987 at the London Palladium for The Secret Policeman’s Third Ball, featuring  featuring Jackson Browne, Peter Gabriel, Youssou N’Dour]

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A Mouthful Of Pennies Presents

Lou Reed: Playing In The Dirt (Vol. 4, 1989-2003)

  • Beginning Of A Great Adventure
  • Halloween Parade
  • Sick Of You
  • Hold On

[from New York by Lou Reed (1989)]

  • Busload Of Faith (Acoustic Live Version)

[New York b-side (1989)]

  • Nobody But You
  • Hello It’s Me

[from Songs for Drella by Lou Reed & John Cale (1990)]

  • Power and Glory
  • Cremation
  • Harry’s Circumcision

[from Magic and Loss by Lou Reed (1992)]

  • Venus In Furs [live]

[from Live MCMXCIII by The Velvet Underground (1993)]

  • This Magic Moment

[from Till the Night Is Gone: Tribute to Doc Pomus (1995)]

  • Egg Cream
  • Sex with Your Parents (motherfucker)

[from Set the Twilight Reeling by Lou Reed (1996)]

  • Turning Time Around
  • Rouge
  • Rock Minuet

[from Ecstasy by Lou Reed (2000)]

  • Broadway Song
  • A Thousand Departed Friends (edit)
  • Call On Me (feat. Laurie Anderson) (snippet)
  • I Wanna Know (The Pit And The Pendulum) (feat. The Blind Boys of Alabama)

[from The Raven by Lou Reed (2003)]

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A Mouthful Of Pennies Presents

Lou Reed: Playing In The Dirt (Vol. 5, 2003-2011)

  • Men Of Good Fortune [live]
  • All Tomorrow’s Parties [live]
  • Set The Twilight Reeling [live] (feat. Antony Hegarty)

[from Animal Serenade by Lou Reed, (recorded June 24, 2003, released 2004)]

  • Sad Song [live]

[from Berlin: Live at St. Ann’s Warehouse (recorded December 15–16, 2006, released 2008)]

  • Hudson River Wind (Blend the Ambiance)

[from Hudson River Wind Meditations (2007)]

  • See That My Grave Is Kept Clean [live]

[from The Harry Smith Project Live, recorded 1999, released 2006)]

  • Some Kind Of Nature

[from Plastic Beach by Gorillaz (2010)]

  • The Bronx

[from The Road From Memphis by Booker T. Jones (2011)]

  • Peggy Sue

[from Rave On Buddy Holly (2011)]

  • Little Dog
  • Iced Honey
  • Junior Dad

[from Lulu by Lou Reed & Metallica (2011)]

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–Thank You

————Bobby Calero————

REF:

Dolan, J. (2013, October 27). Lou Reed, Velvet Underground Leader and Rock Pioneer, Dead at 71. Rolling Stone. Retrieved from http://www.rollingstone.com/music/news/lou-reed-velvet-underground-leader-and-rock-pioneer-dead-at-71-20131027

Halle, H. (2000, March 30). Reed, between the lines. Time Out New York. Retrieved from http://www.timeout.com/newyork/music/reed-between-the-lines

Pareles, J. (2008, March 14). SXSW: Lou Reed, No Fan of MP3s. The New York Times. Retrieved from http://artsbeat.blogs.nytimes.com/2008/03/14/sxsw-lou-reed-no-fan-of-mp3s/?_r=1

Powers, A. (2013, October 27). What Lou Reed Taught Me. NPR. Retrieved from http://www.npr.org/blogs/therecord/2013/10/27/240841092/what-lou-reed-taught-me

Reed, L. (2013, July 2). Lou Reed><Kanye West [Review of the album Yeezus]. The TalkHouse. Retrieved from http://thetalkhouse.com/reviews/view/lou-reed

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A MOUTHFUL OF PENNIES PRESENTS: THE MYTH OF A ROOM (vol. 1).

Hello All,

. . . and the A Mouthful Of Pennies Consortium’s Summer Blow-Out Wholesale Bootleg MixTape Distribution continues!

The last two MixTapes posted—Broken Tail-Feathers, and The Two Cent Spit—were a bit of a rump shaker and sweat maker, but today’s feature is a bit of something other for you all to dig, something to tune-in and zone-out to. A sort of soundscape stew particularly recommended for all you creative types out there, A Mouthful of Pennies Presents: THE MYTH OF A ROOM (vol. 1).

Oh, and don’t forget to checkout some other dope MixTapes posted up in these pages: Longevity Has its Place ; El Ambiente Bien Babes Y Bean de Uruguay: Volume 1 ; Babylon Bye Bye; and the Nas birthday tribute, Nasir bin Olu Dara Jones is Like…

—Enjoy yourself!

The Myth of A Room

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THE MYTH OF A ROOM (vol. 1)

by A Mouthful Of Pennies (Bobby Calero)

Cover art by A Mouthful Of Pennies (Bobby Calero)

Sliced-up, taped-up, slipped in, layered on, and smooshed, with some chunky bits left there to simmer, bits and pieces of all of this and then some is in there somewhere:

Brownsea Island—Waves Lapping Along the ShoreNational Trust

InsideJobriath

Lucifer Rising Part IIIBobby Beausoleil

Can It All Be So SimpleEl Michels Affair

Ode To O-Ren IshiiThe RZA

Off Or Out – Elysian Fields

Terrifying [Starlight & Wonder Version]Pop Levi

Waiting For PreyDamaged Tape

Nightmare-Lust (Raga Chandrakauns)Ravi Shankar & George Harrison (Shankar Family & Friends)

Fiesta-La (The Heatwave Refix)The Fugees

Mk 2Radiohead

LullabyMartina Topley-Bird

RainbirdsBoxharp

Bombay Talkie [Title Music]Shankar Jaikishan

BathtubThe MDH Band (Brian Blade, Greg Cohen, Adam Dorn, Brian Eno, Bill Frisell, Jon Hassell, Daniel Lanois, Brad Mehldau)

Black BalloonBeck

Humoresque #4 Edvard Grieg

Baal’s HymnDavid Bowie

There Is a MountainRene Bloch & the Afro Blues Quintet

Woodpigeon SongBlur

Dance GhostHelado Negro

Incarcerated ScarfacesEl Michels Affair

Mystic BrewRonnie Foster

RibcageElbow

Lucifer Rising Part IVBobby Beausoleil

Modern MusicBlack Mountain

BloodlessBeck and Cornelius

Dream—Festivity & JoyRavi Shankar & George Harrison (Shankar Family & Friends)

Typewriter Tip TipShankar Jaikishan

Key ChainPop Levi

Window (Jon Brion mix)Fiona Apple

Black DogDeodato

Blickling Hall—Clocks Ticking & ChimingNational Trust

Burning SpearSoulful Strings

Twenty-Six TemptationsDeVotchKa

DaredevilFiona Apple

And Relax! The Cinematic Orchestra

Loss Adjuster (Excerpt, Pt. 2)Jarvis Cocker

The WaterBLKHRTS

Step In The Name Of LoveR. Kelly

I Must Be ThereRotary Connection

OhStone Mecca

EastPrince

Within You, Without YouSoulful Strings

Fry BreadBrightblack Morning Light

—————(BOBBY CALERO)—————

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