Category Archives: Jobriath


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What should we call it?

      What good is a glossary when we truly do not know inside from outside, this side from the other, or even where there’s a door; when we would not know our ass from our elbows if we could not reliably locate our head firmly lodged up one of those? More words. Words, which get us close but eventually send us careening off the slick circumference that surrounds the thing itself—like the cell wall fuzz of a mold spore. We apply more words in hopes of a secure hold. But instead of a firm handshake the results are usually just surplus grease on the heel.

It was words and their reception that turned Nimrod—a mighty hunter before God—into Elmer Fudd. It was words and one delirious cartoon.

    But what of the self itself, and all that still under the rose? The self spreads, makes contacts. Of the self is the self. Tendrils: they float just below the surface; they swim, and flail and coil and spill and touch. Some kiss, and taste what? Phantom limbs—some call it quits and commit suicide at a cellular level, which resembles something akin to shore erosion. Some armor-up. Some recover and want to tell you their story. Some sing together in jubilant counterpoint. Some dance callous through our days. Others caress all through the night. For well or ill, some fasten. Expand-and-contract. Contact. Speed-up-and-slow-down. Tendrils; curled lashes encounter the burn; seize ice; all the temperatures between.

We get closer and closer to the map; words crowd the margins. But there are territories that cartographers can never retire. Moments are movements: a series of soft collisions with the apparatus of arithmetic and of alphabet—we play—meat and bone and beating breast and milk and downpour and blood and beauty and beast and bread and circus and soil and sincerity and catch and kiss and jealous and catch and kiss and release and catch and kiss and taste what?—a whole vessel for familiar games…all this & perhaps a bit of all that.

We share secrets.

If a man love me, he will keep my words.

      We fondle nymphs, larvae, while awaiting the imago. Words. Words are sound. —Words— Words are vision. —Words and sound and vision—Words—Words and perception—Words—Words and perception and memory—Words and perception and memory and attention—Words and perception and memory and attention and intelligence. All these cognitive functions—ideological assumptions you just cannot be sure of. It all started with words, at least some say.

In the beginning was the Word, and the Word was with God, and the

Word was God.

            That word was neither an apology nor a demand for one.

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dendrites 4 cvr

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(police cars and dogs) – Eat The Document soundtrack

The Ghost Of Tom Joad – Rage Against The Machine (Bruce Springsteen cover)

Close Your Eyes (And Count To Fuck) – Run The Jewels (ft. Zack De La Rocha)

Out & About – Richard Swift

Love Game – Eminem (ft. Kendrick Lamar)

Down On The Farm – Big Al Downing

Long Time Gone – Billie Joe Armstrong & Norah Jones

Razor Tongue – Martina Topley-Bird

My Ruins – Jim Carroll

Feeling Alright – Warpaint

Hooch – Kelis

When I Get This Feeling – Bobby Moore & the Rhythm Aces

Two Weeks – FKA Twigs

Endeavors For Never (The Last Time We Spoke You Said You Were Not Here; I Saw You Though.) – Shabazz Palaces

Makes Me Wanna Die – Tricky (ft. Martina Topley-Bird)

Chameleon/Death Trip – Steve Harley & Cockney Rebel

Bi-Polar Bear – Stone Temple Pilots

Scumbag – Jobriath

Left Hand Luke and The Beggar Boys – T.Rex

It’s Serious – Cooly G (ft. Karizma)

Outro – Martina Topley-Bird


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  • (police cars and dogs)  – Eat The Document soundtrack
  • The Ghost Of Tom Joad – Rage Against The Machine (Bruce Springsteen cover)
  • Close Your Eyes (And Count To Fuck) – Run The Jewels (ft.  Zack De La Rocha)
  • Out & About – Richard Swift
  • Love Game – Eminem (ft. Kendrick Lamar)
  • Down On The Farm – Big Al Downing
  • Long Time Gone – Billie Joe Armstrong & Norah Jones
  • Razor Tongue – Martina Topley-Bird
  • My Ruins – Jim Carroll
  • Feeling Alright – Warpaint
  • Hooch – Kelis
  • When I Get This Feeling – Bobby Moore & the Rhythm Aces
  • Two Weeks – FKA Twigs
  • Endeavors For Never (The Last Time We Spoke You Said You Were Not Here; I Saw You Though.) – Shabazz Palaces
  • All Mine – Portishead 
  • Makes Me Wanna Die – Tricky (ft. Martina Topley-Bird)
  • Chameleon/Death Trip – Steve Harley & Cockney Rebel 
  • Bi-Polar Bear – Stone Temple Pilots
  • Scumbag – Jobriath
  • Left Hand Luke and The Beggar Boys – T.Rex
  • It’s Serious – Cooly G (ft. Karizma)
  • Outro – Martina Topley-Bird

__________—_–_________________     _   -_______

——————————————-BOBBY CALERO—————————–


HELLO ALL! I’ve got a double mixtape here for you today, so you should be able to chew on this awhile! Keep an ear out, as these actually feature two of my all time favorite tunes: Harry Nilsson’s “The Moonbeam Song” and “All The King’s Horses” by Aretha Franklin (my, how I would have loved to have heard Jeff Buckley do a rendition of the latter). Oh and here across the 2 mixes there’s the whole Rolling Stones/Claudine Longet connection to dig.

Anyway, as always


Radio Detritus CVR




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Radio Detritus 1

How Brittle The Bones – Trent Reznor & Atticus Ross

Saturday Bride – Quilt

Sunday – David Bowie

Dirt – The Stooges

Of Course – Jane’s Addiction

Moanin’ The Blues – Hank Williams [art by Marc Burckhardt]

Claudine – The Rolling Stones

Pumpkin – Tricky (ft. Alison Goldfrapp)

Sweet Sweet – Smashing Pumpkins

Don’t Think Twice – The Wonder Who (aka, The 4 Seasons )

Street Corner Love – Jobriath

I Got A Good Thing/Stoned To The Bone – James Brown

Diagram – Saul Williams

Mama Forgot To Tell Me – Willie “Little Beaver” Hale

One Room Paradise – The Raeletts

Belle Glade Missionaries – of Montreal

I’ll Bet You – Funkadelic

The Moonbeam Song – Harry Nilsson

Bring Me The Disco King – David Bowie

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— — —    —


Radio Detritus 2

Sunday Will Never Be the Same – Buffoons

Soul Vibrations – Dorothy Ashby

Ill Wind – Frank Sinatra

Where I End And You Begin (The Sky Is Falling In) – Radiohead

All The King’s Horses – Aretha Franklin

Last To Know - Priestbird [photo by Lauren Dukoff]

Last To Know – Priestbird [photo by Lauren Dukoff]

Prayer – D’Angelo & The Vanguard

Memory Camp – The Brian Jonestown Massacre

Never Get Old – David Bowie

JLH – Richard Swift

Sugar Mama – John Lee Hooker

Trust No Man – Ma Rainey

Mississippi (outtake version) – Bob Dylan

Let’s Spend The Night Together – Claudine Longet

Sweet Feeling – Candi Staton

Standing In The Rain – Al Green

I Don’t Need No Doctor – Ray Charles

Day Tripper – Vontastics

It's A Long Way Back To Germany- Ramones

It’s A Long Way Back To Germany– Ramones

Pretty Penny – Stone Temple Pilots

Labeling the World/Better Beware – Charles Eisenstein/Lilacs & Champagne (amop edit)

Lay Lady Lay – Brothers & Sisters (Dylan’s Gospel)

If I Only Had A Heart – Afghan Whigs

Ha Ha Suckers – Richard Swift [art by Richard Swift]

Radio Detritus 1

  • How Brittle The Bones – Trent Reznor & Atticus Ross
  • Saturday Bride – Quilt
  • Sunday – David Bowie
  • Dirt – The Stooges
  • Of Course – Jane’s Addiction
  • Moanin’ The Blues – Hank Williams
  • Claudine – The Rolling Stones
  • Pumpkin – Tricky (ft. Alison Goldfrapp)
  • Sweet Sweet – Smashing Pumpkins
  • Don’t Think Twice – The Wonder Who (aka, The 4 Seasons )
  • Street Corner Love – Jobriath
  • I Got A Good Thing/Stoned To The Bone – James Brown
  • Diagram – Saul Williams
  • Mama Forgot To Tell Me – Willie “Little Beaver” Hale
  • One Room Paradise – The Raeletts
  • Belle Glade Missionaries – of Montreal
  • I’ll Bet You – Funkadelic
  • The Moonbeam Song – Harry Nilsson
  • Bring Me The Disco King – David Bowie
 Radio Detritus 2
  • Sunday Will Never Be the Same – Buffoons
  • Soul Vibrations – Dorothy Ashby
  • Ill Wind – Frank Sinatra
  • Where I End And You Begin (The Sky Is Falling In) – Radiohead
  • All The King’s Horses – Aretha Franklin
  • Last To Know – Priestbird
  • Prayer – D’Angelo & The Vanguard
  • Memory Camp – The Brian Jonestown Massacre
  • Never Get Old – David Bowie
  • JLH – Richard Swift
  • Sugar Mama – John Lee Hooker
  • Trust No Man – Ma Rainey
  • Mississippi (outtake) – Bob Dylan
  • Let’s Spend The Night Together – Claudine Longet
  • Sweet Feeling – Candi Staton
  • Standing In The Rain – Al Green
  • I Don’t Need No Doctor – Ray Charles
  • Day Tripper – Vontastics
  • It’s A Long Way Back To Germany- Ramones
  • Pretty Penny – Stone Temple Pilots
  • Labeling the World/Better Beware – Charles Eisenstein/Lilacs & Champagne (amop edit)
  • Lay Lady Lay – Brothers & Sisters (Dylan’s Gospel)
  • If I Only Had A Heart – Afghan Whigs
  • Ha Ha Suckers – Richard Swift

— —   ———-   — – – –    –     –

——————————————-BOBBY CALERO—————————–


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



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


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


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


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


Step In The Name Of LoveR. Kelly

I Must Be ThereRotary Connection

OhStone Mecca


Within You, Without YouSoulful Strings

Fry BreadBrightblack Morning Light

—————(BOBBY CALERO)—————


With David Bowie’s artistic brilliance seemingly compelling him to habitually shed certain personas and their accompanying musical affectations for another incarnation throughout his long career, there are times I am left wanting more; sometimes saying to myself, “Man, I’d really just like a bit more of that Diamond Dogs sound.” Now, as rude and trivializing as it may seem to use this concept to introduce another artist, it was through this very want that I discovered little remembered but quite talented songwriter/performer Jobriath. However, over the years I have grown to truly respect and take pleasure in this man’s brief artistic output on its own merits and without the context of being primarily filler for my desire for another’s sound.

—What follows is a tragic, yet classically American tale of talent, reinvention, hype, and neglect—

Being born Bruce Wayne Campbell (quite a name, no?) on December 14, 1946 in Philadelphia, Jobriath was classically trained on the piano as a child and was considered somewhat of a prodigy. However, he began his pop musical career at the tail end of the 1960s in Los Angeles’ original Aquarius Theatre production of the “The American Tribal Love-Rock Musical” Hair.

Jobriath (on the left) in 1969 with Connie Gripp, the “strong willed, independent, tough-as-nails dope fiend woman, who turns tricks for the fun of it sometimes, just ’cause she’s so willful” (Nelson, 1996) who would become the romantic partner of Dee Dee Ramone, and performance artist Marlowe B West, who was credited as one of the “Three Muses” for Jobriath’s second solo album.

At the age of 22 in mid-1968, Jobriath left this production to form the obscure group Pidgeon, for which he was credited under the name of Jobriath Salisbury as one of the principal singers (along with Cheri Gage), co-songwriter (along with poet Richard T. Marshall), as well as contributing keyboards and guitars. Signed to the record label Decca, under the auspices of session-singer Stan Farber who agreed to produce them, Pidgeon were soon set up in a house for six months to rehearse the material that would comprise their sole LP.

Jobriath, circa late-’60s

Recorded in December of ’68 and released in 1969, their debut album was intended to bear the title First Flight From the Forest, but for whatever reason was released only with the group’s name on the cover. A bit plodding at times and certainly not the most impressive thing to come out that year, however, their debut did exhibit an interestingly frantic approach to the Californian sunshine soaked and harmonic psychedelia pioneered by the The Mamas & the Papas and the perturbed baroque folk-rock pioneered by Arthur Lee‘s Love. Perhaps two of the most stand-out tracks from this album are the harpsichord driven harmonic ramble of “The Mainline” and the lithe rocker, “The Dancer,” which you can check out below:

The Mainline——————–(CLICK TO LISTEN)

The Dancer ——————–(CLICK TO LISTEN)

This album had little impact, as unfortunately did their follow-up single “Rubber Bricks,” recorded April of 1969. The group soon dissolved and by this time Jobriath had fully embraced the decadence of drugs and alcohol, occasional funding this lifestyle through prostitution. At this time as well, he began to demonstrate psychiatric disturbances, which would plague him later in life. But more importantly, he began developing the songs and style that would burgeon into his next musical incarnation: Jobriath Boone.

Soon after, in 1972 a demo tape of Jobriath’s music would be heard by impresario Jerry Brandt, who had made his fame by discovering Carly Simon, booking The Rolling Stones’ first tour of America, and who had up until recently been running the Electric Circus nightclub on St. Marks Place in the East Village section of Manhattan. Searching for a new project, Brandt sat in the office of Columbia Records President Clive Davis as the two listened to demo audition tapes. Where as Davis only heard in Jobriath’s demo something that was “mad, unstructured and destructive to melody” (Cochrane, 1998), Brandt heard the promise of something with marketability on par with Elvis and The Beatles; more so, Brandt believed he had discovered an American answer to the glam-rock explosion that was David Bowie.

Locating Jobriath in an unfurnished apartment in California, where, as the singer later said of himself, he was “floating down in the gutter” (Cochrane, 1998), with the entrance of Brandt into his life, from this moment on Jobriath’s career would be more concerned with hype than music. In January of 1974, Brandt would tell the music journal Melody Maker, “If hype means projecting your artist, I’m going to produce the biggest hype ever” (Barton, 2010). Through this hype, Brandt secured Jobriath a $500,000 contract with the head of Elektra Records, Jac Holzman. Looking back at his time running Elektra, Holzman later wrote,  “I made two errors of judgment, and signing Jobriath was one of them” (Sullivan, 2008).

Jobriath and Jerry Brandt

Although Jobriath’s self-titled solo debut of ’73 can in fact be considered a financial failure, it remains as an interesting, idiosyncratic work that melds quirky Weimar cabaret* with erotic funk** and loose, somber piano ballads*** (ballads that, to my ears, are very akin to those found on Bruce Springsteen’s first two albums, released that same year).

*Movie Queen——————–(CLICK TO LISTEN)

**Take Me I’m Yours——————–(CLICK TO LISTEN)

***Inside——————–(CLICK TO LISTEN)

Jobriath’s self-titled debut was dropped on the marketplace accompanied by an aggressive advertising campaign, in which thousands were spent. His image was plastered on the front of nearly every bus in London and New York City, and a 50-foot billboard was erected in Times Square bearing the album’s cover image, which featured Jobriath’s nude torso, crawling while dragging shattered legs.

The cover of Jobriath’s first album was later appropriated by Todd Haynes for his meticulous ode to glam rock, Velvet Goldmine. Released in 1998, the film explores a generation’s sexual discovery through a dramatic take on the lives of David Bowie and Iggy Pop, all filtered through the framework of Orson Welles’ cinematic masterpiece of 1941, Citizen Kane, and through George Orwell’s prophetic novel of 1949, Nineteen Eighty-Four. Highly recommended!

Beyond the hype generated by Brandt concerning Jobriath’s apparent musical ability, much of this hype pertained to the fact that Jobriath was, in fact, the world’s first openly gay pop star. “I’m a true fairy!” Jobriath Boone boldly told the press (Metzger, 2009).

Now, I’m sure Jobriath’s ostentatious use of his sexual preference (whereas others typically flirted with androgyny) did create much of the scorn aimed his way upon the release of his album; however, I believe that most simply have a natural aversion to an onslaught of hype. It robs the inquisitive of any sense of discovery. It is that very same reaction that has caused me to know very little about the endless succession of British bands touted by the likes of NME as the greatest musical act ever to happen in the six months since the last greatest musical act ever to happen. Besides this, it is easy to picture your average meat-and-potatoes American dismissing Jobriath as just “another space-age faggot.” With song titles such as “Space Clown,” and “Earthling,” Jobriath certainly utilized the same queer-human-as-artistic-extraterrestrial-motif employed by Bowie through his Ziggy Stardust persona.

Jobriath performing on The Midnight Special.

Regardless, I find Jobriath’s music to be quite remarkable. Although, recently playing his albums for a friend who knew nothing of what he was listening to, not the artist’s story, nor his sexuality, not even his name—his response was a critique that was incredibly similar to the previously mentioned statements made by Clive Davis. So, it could certainly be not as universally “good” as I believe it to be. Jobriath’s first album was primarily recorded at Electric Lady Studios in New York and co-produced by Eddie Kramer, who made his fame through his production work for Jimi Hendrix and Led Zeppelin. Kramer later recalled of the songs’ orchestration (recorded in Olympic Studios in London): “[Jobriath was] a romantic soul, really. He wanted orchestrations like old film music, though he knew nothing about scoring. So he bought a book on orchestration and within a week he’d come up with scores of a haunting quality. These were recorded in Olympic Studios in London with a nine-foot grand piano and a 55-piece orchestra” (Cochrane, 1998). This haunting quality is best expressed by the album’s closing track, “Blow Away.”

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Despite some positive reviews (Rolling Stone: “talent to burn;” Record World: “brilliantly incisive.”) the album failed to hit the charts and Elektra began to recoil from the artist. Jobriath’s first tour was intended to be held within all the major opera houses in Europe, and according to him would feature, “King Kong being projected upwards on a mini Empire State Building. This will turn into a giant spurting penis and I will have transformed into Marlene Dietrich” (Cochrane, 1998). Whether this was merely an alcohol and cocaine fueled fantasy or actually in the works, Elektra cancelled the entire tour, citing financial reasons. Jobriath’s debut public performance would come by the way of television, appearing on “The Midnight Special.” On stage in costumes of his own design, the performances of his songs “I’MAMAN” and “Rock of Ages” only hint at the stage show that might’ve been.

Within six months of his flop, a second LP titled “Creatures Of The Street” was released. Darker in tone, this album would be released with no promotion whatsoever and its dismal sales effectively ended the would-be superstar. Despite its rushed release and its total neglect by his label, the album was an ambitious project that explored the urban grandeur of pop songwriting.

Creatures Of The Street. Lady Gaga might indeed steal her music from Madonna, but much of her look is pilfered from Jobriath.

Heart Beat——————–(CLICK TO LISTEN)

Street Corner Love——————–(CLICK TO LISTEN)

Gone Tomorrow/Ooh La La (Reprise and Exit Music)———(CLICK TO LISTEN)

A relatively modest tour followed—a blur of debauchery and derision. Brandt abandoned the group halfway through the tour and went on to make his money by convincing America to purchase over-priced and imported designer jeans and later opened the music venues The Ritz and Palladium. Abandoned by his manager, by his label, and fully embodying his stated belief that, “schizophrenia isn’t all that bad. It may be the lifestyle of the ’70s” (Cochrane, 1998), Jobriath soon announced his retirement from the music business, and hardly anyone noticed. After a failed audition for the part of Al Pacino’s boyfriend in Sidney Lumet’s gripping true-crime film of 1975, Dog Day Afternoon, the man who was everywhere for a moment, Jobriath, was gone.

Living within the pyramid room atop New York’s Chelsea Hotel, Jobriath dissipated, replaced by yet another incarnation, Manhattan nightclub cabaret act, Cole Berlin.

Still creating, still an artist, in a 1981 BBC program about the Chelsea Hotel and its eccentric inhabitants, Cole Berlin was filmed within his odd apartment, performing on his white piano a composition of his own, “Sunday Brunch.”

By August 3, 1983, aged 36 years, Cole Berlin, Jobriath Boone, Jobriath Salisbury, and Bruce Wayne Campbell would all be dead from a new disease called AIDS. After four days, complaints by his neighbors concerning a smell would lead to the discovery of his body.


This year, Jobriath A.D., a documentary by Kieran Turner is set to be released and concerns this intriguing life. I for one intend to catch it.


Cochrane, R. (1998, November). Jobriath: The Mojo Article. Mojo Magazine. Retrieved from

Metzger, R. (2009, March 30). Jobriath Boone: Rock’s Fairy Godmother. BoingBoing. Retrieved from

Nelson, C. (1996, Nov. 8). Former MC5 guitarist to score punk film? Addicted To Noise Washington. Retrieved from

Sullivan, J. (2008, Feb. 29). Twisted Tales: Glam Rocker Jobriath – The Man Who Would Have Been Queen. Spinner. Retrieved from