Category Archives: David Vandervelde

A.M.O.P. PRESENTS: ROYAL JELLY

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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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Hello All! Hello World!

I said well hello there.

It’s certainly been a rough week or two around here, but here we are with another 80 minutes of music compiled & mixed by A Mouthful Of Pennies; yes it’s the new MixTape: Royal Jelly. As Jack Kerouac once wrote: “We seek to find new phrases; we try hard, we writhe and twist and blow; every now and then a clear harmonic cry gives new suggestions of a tune, a thought, that will someday be the only tune and thought in the world and which will raise men’s souls to joy.”

To me the trio of Prince tunes (all associated with his 1984 masterpiece Purple Rain as b-sides, and to my ear, other than the backing vocals by Sheila E., it sounds like Prince is performing all that you hear on these tracks) that open this MixTape perfectly exemplify what I wrote and quoted in my little essay about this genius back in MAY 04 2016:

Prince had plenty of confidence and little hang-ups. That’s one thing I’ve always loved about listening to his music, he was telling you that there was a true spirituality to celebrating this thing called life with “dance, music, sex, romance” or “D.M.S.R.” His former tour manager Alan Leeds was recently quoted as saying “For him the love of God and the sexual urges we feel are one and the same somehow. For him it all comes from the same root inside a human being. God planted these urges and it’s never wrong to feel that way. The urge itself is a holy urge.”

Or as Touré (author of I Would Die 4 U: Why Prince Became an Icon) put it: “[…] for him there was no need to separate the things we do on Saturday night from the things we do on Sunday morning.”

Plato said: Eros leads to Gnosis. As I recently read on the website, plotinus, Eros should be seen as:

[…] a liberating agent who releases and activates the creative process of the mind. Eros inspires and opens the channel of intuition to the higher and abstract understanding and communion with beauty and truth. The myth of Eros and Psyche describes in detail the inner process of transformation. In fact, Eros cannot be separated from his beloved Psyche, since they are united by a secret and sacred bond, invisible and unconscious in man. In fact, man’s psyche remains filled with erotic, sensual, carnal desires that keep him and his mind trapped on the physical plane along with his emotions and consciousness. But a seeker must transmute the attraction of Eros and awaken the bond with his psyche so that he can rise towards the “beloved,” the invisible golden thread that links his consciousness to the universal qualities of beauty and love.

The gifts of Eros affect the emotional and thought processes of humanity, especially those of a seeker who has to learn how to open up and integrate these gifts in his psyche. From the lowest and most physical levels of consciousness to the most spiritual ones, Eros remains forever present, gradually transforming the inner fire into pure light. Eros operates in every living creature, and Greek poetry and philosophy describe how nature partakes of the gift of Eros. Hence we could say that Eros’ contribution to humanity is not only inherent in man’s psyche, but that it is also involved in the process that awakens the ego to its true nature, the beauty and unconditional love of the soul.

Eros implies a yearning for unity, harmony, and completion.

Yes, most of Prince’s work was concerned with sex, but then again most of it was concerned with spirituality as well. These seem to be things he had no trouble reconciling. Yes, by others’ standards and ethics he was vulgar. Remember it was Prince’s music (“Darling Nikki” and its reference to female masturbation in particular) that was used by Mary “Tipper” Gore and her Parents Music Resource Center (PMRC) as an example of unsuitable content when pushing for the use of a Parental Advisory label for recorded music. However, with Prince the erotic might be visceral, explicit, but it was rarely truly crude or misogynist. When it came to women (and God) he was always seeking to find “the answer to the question of u.” He adored and respected women and felt a sense of wonder in their presence. Particularly Prince respected women as artists and for their intelligence. He respected and acknowledged female sexuality. Prince wanted to make love with them; Prince wanted to fuck them. Like he says to the woman in question in the eight minute epic “Joint 2 Joint”: “You’re making me proud to be a human being.”

That is not negated by his lustful follow through and the come-on:

And if we’re ever naked in the same machine/I’m gonna lick it, baby, joint 2 joint

Above all, what I love about listening to his work is that yes he wanted you to believe he is a sexy motherfucker, but I think he wanted you the listener–no matter what or who you are–to fully appreciate that yeah you’re a sexy motherfucker too!

Also on this here mix you’ll hear another song from Alela Diane’s brand new and truly wonderful record, Cusp. Of the record she has said,“This music is about motherhood. Even just by saying that, it feels like people will write you off. It’s like you’ve suddenly lost the charm of being youthful and even attainable––you’ve been commoditized as available. There is not a big place in the music industry for 30-something women with kids making music. Maybe we can create that space.” I highly recommend this one.

All The Night Without Love” the 2006 tune by Elvis Perkins features not only some lyrics that I adore, but more so I’m always amazed by the cadence and phrasing he uses to deliver such lines as:

 
“Touch 
me” 
the graphic reads
on the 
magnetic 
athletic insole sheet
and it goes 
all its life without love
Tell me can you 
imagine going to
“Got milk? 
dot 
com”
Do you go 
all the night without love
without love?

There’s the abrasive “Long Way Home” that closes the 2001 LP ShangriLa Dee Da by Stone Temple Pilots. Despite its caustic sound I’ve always appreciated Dean DeLeo’s contorted guitar that accompanies the song’s fade and Weiland’s repetition of:

Tell me
Is it more of the same and
Where can I find it?
Tell me
Is she fighting for air and
Where does she come from?
Tell me
 

Oh and there’s two sonic oddities by the musician Anon, who also sometimes went by the moniker Wynn. His great new project Hidden Beams is just making its debut and you can listen and learn a bit more about that over here.

Well, there’s all this and a whole lot more! So…

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—————–======ENJOY YOURSELF____———–

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[cover art: Vangel Naumovski, Spiral Galaxy, 1981]

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A.M.O.P. Presents: __Royal Jelly
  • God (Love Theme From Purple Rain) / God / Erotic City (“Make Love Not War Erotic City Come Alive”) – Prince
  • Anger Management – Lovage (Dan the Automator, Mike Patton, Jennifer Charles, & Kid Koala)
  • Intro (live: March 1, 1969/April 10, 1970) / PaperBack Queen (live: May 30 1969) / Back Door Man-Love Hides-Five To One (Live in Pittsburgh, May 2, 1970) – The Doors
  • Nothin’ No – David Vandervelde
  • All The Night Without Love – Elvis Perkins
  • Up And Down, Up And Down (I Will Lead Them Up And Down) [Puck] – Duke Ellington & His Orchestra
  • The Threshold – Alela Diane
  • Diary of an Erotic Murderess (Main Title) – Carlo Savina
  • 49 Hairflips – Jonathan Wilson (ft. backing vocals by Josh Tillman (aka Father John Misty), Krystle Warren)
  • Seeing – Anon (aka Wynn; aka Hidden Beams)
  • Waiting For The Train To Come In – Peggy Lee
  • Waiting For The Sun – The Doors
  • Long Way Home – Clarence Gatemouth Brown
  • Long Way Home – Stone Temple Pilots
  • You Win Again – The Rolling Stones (Hank Williams cover; Some Girls January–March 1978 sessions outtake)
  • I Really Don’t Want To Know – Elvis Presley (written by Don Robertson and lyrics by Howard Barnes)
  • Little War – Lee Hazlewood
  • Royal – Anon (aka Wynn; aka Hidden Beams)

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God (Love Theme From Purple Rain) / God / Erotic City (“Make Love Not War Erotic City Come Alive”) – Prince

Anger Management – Lovage (Dan the Automator, Mike Patton, Jennifer Charles, & Kid Koala)

Intro (live: March 1, 1969/April 10, 1970) / PaperBack Queen (live: May 30 1969) / Back Door Man-Love Hides-Five To One (Live in Pittsburgh, May 2, 1970) – The Doors

Nothin’ No – David Vandervelde

All The Night Without Love – Elvis Perkins

Up And Down, Up And Down (I Will Lead Them Up And Down) [Puck] – Duke Ellington & His Orchestra

The Threshold – Alela Diane [photo by Jaclyn Campanaro]

Diary of an Erotic Murderess (Main Title) – Carlo Savina

49 Hairflips – Jonathan Wilson (ft. backing vocals by Josh Tillman (aka Father John Misty), Krystle Warren)

Seeing – Anon (aka Wynn; aka Hidden Beams)

Waiting For The Train To Come In – Peggy Lee

Waiting For The Sun – The Doors [photo by Henry Diltz, 1969]

Long Way Home – Clarence Gatemouth Brown

Long Way Home – Stone Temple Pilots

You Win Again – The Rolling Stones (Hank Williams cover; Some Girls January–March 1978 sessions outtake) [art by Danny Resnic, 1978]

I Really Don’t Want To Know – Elvis Presley (written by Don Robertson and lyrics by Howard Barnes)

Little War – Lee Hazlewood

Royal – Anon (aka Wynn; aka Hidden Beams)

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

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. 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!

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

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

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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)

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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)

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——————————————-BOBBY CALERO—————————–