Category Archives: Uncategorized

A.M.O.P. PRESENTS:__ANOTHER MORNING/ANOTHER NIGHT

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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.

Welcome to the latest A.M.O.P. Mixtape:_ANOTHER MORNING/ANOTHER NIGHT

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—————–======ENJOY YOURSELF____———–

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A.M.O.P. Presents: ANOTHER MORNING/ANOTHER NIGHT
  • Hyacinth House [Demo 1969, Krieger’s Home Studio] – The Doors
  • Death Is Not The End – Carl Broemel (Bob Dylan cover)
  • Dewel – Mulatu Astatke & The Heliocentrics
  • Green & Gold – Lianne La Havas
  • A Small Plot Of Land – David Bowie
  • Hiroshima (1945) – Miguel Y El Comite
  • Family Name / The Everlasting Now – Prince
  • Theme From Valhalla Dale – The Moonlandingz (ft. Sean Lennon; Adrian Flanagan and Dean Honer of the The Eccentronic Research Council; Lias Saoudi AKA Johnny Rocket and Saul Adamczewski of Fat White Family)
  • Everyone A Star – Damien Jurado (w/ Richard Swift)
  • Bloom – Yazz Ahmed (Radiohead cover)
  • Run Me Through – Perfume Genius
  • Parents (Interlude) / I’ll Take Care Of You – Gil Scott-Heron
  • Phantom Of Aleppoville – Benjamin Clementine
  • Saeta – Miles Davis & Gil Evans
  • Hyacinth House – The Doors

 

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Hyacinth House [Demo 1969, Krieger’s Home Studio] – The Doors

Death Is Not The End – Carl Broemel (Bob Dylan cover)

Dewel – Mulatu Astatke & The Heliocentrics

Green & Gold – Lianne La Havas

A Small Plot Of Land – David Bowie (photo by Enrique Badulescu, 1995).

Hiroshima (1945) – Miguel Y El Comite

Family Name / The Everlasting Now – Prince (photo by Nicole Nodland)

Theme From Valhalla Dale – The Moonlandingz

Everyone A Star – Damien Jurado (w/ Richard Swift)

Bloom – Yazz Ahmed (Radiohead cover)

Run Me Through – Perfume Genius (photo by Inez and Vinoodh)

Parents (Interlude) / I’ll Take Care Of You – Gil Scott-Heron
(photo by Gabriele Stabile)

Phantom Of Aleppoville – Benjamin Clementine (photo by David Uzochukwu)

Saeta – Miles Davis & Gil Evans

Hyacinth House – The Doors

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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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A.M.O.P. PRESENTS:__LADDER UNDER HER; WATER EVERYWHERE

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Hello All.

Welcome to the latest A.M.O.P. Mixtape:_Ladder Under Her; Water Everywhere

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—————–======ENJOY YOURSELF____———–

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A.M.O.P. Presents: Ladder Under Her; Water Everywhere
  • Le Grand – Lilacs & Champagne
  • Vessels – The Moonlandingz (ft. Sean Lennon; Adrian Flanagan and Dean Honer of the The Eccentronic Research Council; Lias Saoudi AKA Johnny Rocket and Saul Adamczewski of Fat White Family)
  • Windswept – Johnny Jewel
  • St-Clementine-On-Tea-And-Croissants / Nemesis – Benjamin Clementine
  • You Ain’t Going Nowhere – The Byrds (Bob Dylan cover)
  • Rainbow Children / Muse 2 The Pharaoh – Prince
  • Ted, Just Admit It… – Jane’s Addiction
  • Twin Peaks: Fire Walk With Me – Fantômas (Mike Patton, Dave Lombardo, Buzz Osborne, Trevor Dunn)(written by David Lynch & Angelo Badalamenti)
  • Stolen Pictures (Mix) – David Lynch & Angelo Badalamenti; mixed by TWIN PEAKS SOUNDTRACK DESIGN
  • The Crimson Kiss – Johnny Jewel
  • You Don’t Miss Your Water (Gram Parsons vocal) – The Byrds (William Bell cover)
  • Someone I Know – Margo Guryan
  • Satellite Of Love – Lou Reed; ft. David Bowie
  • Shabby Doll – Elvis Costello & The Attractions
  • No More – Dean Hurley
  • You Don’t Miss Your Water – William Bell
  • Atonement – The Roots Feat. Jack Davey
  • Every Tear Disappears – St. Vincent
  • Crimson Escalation (34/370) – crush_DLX (Pop Levi & Bunny Holiday)

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[Le Grand – Lilacs & Champagne]

[Vessels – The Moonlandingz (photo by Silvia Saponaro)]

[Windswept – Johnny Jewel]

[St-Clementine-On-Tea-And-Croissants / Nemesis – Benjamin Clementine]

[You Ain’t Going Nowhere – The Byrds (Bob Dylan cover) (art by Jo Mora, 1932)]

[Rainbow Children / Muse 2 The Pharaoh – Prince]

[Ted, Just Admit It… – Jane’s Addiction]

[Twin Peaks: Fire Walk With Me – Fantômas (Mike Patton, Dave Lombardo, Buzz Osborne, Trevor Dunn)(written by David Lynch & Angelo Badalamenti)]

[Stolen Pictures (Mix) – David Lynch & Angelo Badalamenti; mixed by TWIN PEAKS SOUNDTRACK DESIGN]

[The Crimson Kiss – Johnny Jewel]

[You Don’t Miss Your Water (Gram Parsons vocal) – The Byrds (William Bell cover)]

[Someone I Know – Margo Guryan]

[Satellite Of Love – Lou Reed; ft. David Bowie (photo by Mick Rock)]

[Shabby Doll – Elvis Costello & The Attractions (cover art “Snakecharmer & Reclining Octopus” by Barney Bubbles)]

[No More – Dean Hurley]

[You Don’t Miss Your Water – William Bell]

[Atonement – The Roots Feat. Jack Davey]

[Every Tear Disappears – St. Vincent (photo by Kara Smarsh)]

[Crimson Escalation (34/370) – crush_DLX (Pop Levi & Bunny Holiday)]

___________________))))))))))))))))
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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.M.O.P. PRESENTS__AUGUST BLOSSOM

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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.

Welcome to the latest A.M.O.P. Mixtape:__AUGUST BLOSSOM

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—————–======ENJOY YOURSELF____———–

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A.M.O.P. Presents: August Blossom
  • The Nightshift – Symmetry (Johnny Jewel & Nat Walker)
  • 14 Ghosts II – Nine Inch Nails
  • Misery Is The River Of The World – Tom Waits
  • The Donor – Judee Sill
  • There’s Some Light Ahead – John Klemmer
  • H>A>K / Did You See Butterflies? – Jane Weaver
  • Audrey’s Dance (OAM & Renault Mix) -David Lynch & Angelo Badalamenti; mixed by TWIN PEAKS SOUNDTRACK DESIGN
  • Adhesive – Stone Temple Pilots
  • Semi-Babe – Pop Levi
  • The Nightshift Reprise – Symmetry (Johnny Jewel & Nat Walker)
  • Trauma – Foxygen
  • You Feel So Lonely You Could Die – David Bowie
  • Take Me Inside – Sampha
  • Jack U Off – Prince
  • [Lady – Chromatics (Johnny Jewel, Ruth Radelet, Adam Miller, Nat Walker)]
  • Total Eclipse – Brian Auger’s Oblivion Express
  • Tremor Christ – Pearl Jam
  • Seven Come Eleven – Lionel Hampton (written by Benny Goodman)

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The Donor
–Judee Sill
I’ll chase ’em to the bottom
Till I’ve finally caught ’em
Dreams fall deep
Where voices come a-chimin’
Moanin’ and a-rhymin’
Warning me
Their words are ringin’ and a-whinin’
Hear ’em weep
Songs from so deep
While I’m sleepin’
Seep in
Sweepin’ over me
Still the echo’s achin’
“Leave us not forsaken”
Kyrie eleison, kyrie eleison
Kyrie eleison, eleison
Eleison, eleison
Kyrie eleison, kyrie eleison
So sad, and so true
That even shadows come
And hum the requiem
O waters of the moon
Your vapors swirls and swoon
Your wake is wide
And sorrow’s like an arrow
Shootin’ straight and narrow
Aimin’ true, it’s sting goes
Reachin’ to the marrow
Silence cried
Now songs from so deep
While I’m sleepin’
Seep in…
Sweepin’ over me
Still the echo’s achin’
“Leave us not forsaken”
Kyrie eleison, kyrie eleison
Kyrie eleison, eleison
Eleison, eleison
Kyrie eleison, kyrie eleison
So sad, and so true
That even shadows come
And hum the requiem
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Jane Weaver – Did You See Butterflies?

Produced, Directed & Edited by Paola Suhonen
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[The Nightshift – Symmetry (Johnny Jewel & Nat Walker)]

[14 Ghosts II – Nine Inch Nails]

[Misery Is The River Of The World – Tom Waits (photo by Anton Corbijn, California, Dillon Beach, 2002)]

[The Donor – Judee Sill]

[There’s Some Light Ahead – John Klemmer]

[H>A>K / Did You See Butterflies? – Jane Weaver]

[Audrey’s Dance (OAM & Renault Mix) -David Lynch & Angelo Badalamenti; mixed by TWIN PEAKS SOUNDTRACK DESIGN]

[Adhesive – Stone Temple Pilots]

[Semi-Babe – Pop Levi]

[The Nightshift Reprise – Symmetry (Johnny Jewel & Nat Walker)]

[Trauma – Foxygen (photo by Cara Robbins)]

[You Feel So Lonely You Could Die – David Bowie]

[Take Me Inside – Sampha (photo by Francesco Nazardo)]

[Jack U Off – Prince]

[Lady – Chromatics (Johnny Jewel, Ruth Radelet, Adam Miller, Nat Walker)]

[Total Eclipse – Brian Auger’s Oblivion Express]

[Tremor Christ – Pearl Jam]

[Seven Come Eleven – Lionel Hampton (art by Davide Baroni)]

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

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.M.O.P. PRESENTS__(DOMINION) SWORDS, CUPS, AND OTHER ACCOUTERMENTS

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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.

Welcome to the latest A.M.O.P. Mixtape: (Dominion) Swords, Cups, and Other Accouterments. I must say this and the prior ([A Crush Of Curtains]:) have been my favorite mixtapes I’ve created in awhile, in terms of feeling like I achieved a mood and texture I envisioned at the get-go. I think it’s pretty clear at this point that I don’t often use the platform of this blog to make party-mixes, but more likely create MixTapes to listen to when alone, such as driving, walking, or when attempting some form of artistic expression. I listened to today’s mix while driving through a beautiful but torrential downpour and I found it to be a great compliment. I hope you dig it and find a use for it too.

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Also below you’ll find an updated list of things I read (or re-read) so far since January of this year, 2017. You’ll find the more recent things towards the bottom. These are works that I truly enjoyed and/or loved. I highly recommend them all!

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—————–======ENJOY YOURSELF____———–

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[original photo by Andrea Pun]

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(Dominion) Swords, Cups, and Other Accouterments
  • And Death Shall Have No Dominion / 5 Ghosts I – Dylan Thomas / Nine Inch Nails
  • Pitch To Voltage – Brian Eno & David Byrne
  • Take Me to the Land of Hell – Yoko Ono Plastic Ono Band
  • Concerning The UFO Sighting Near Highland, Illinois – Sufjan Stevens
  • Hanging In The Wire – PJ Harvey
  • Everybody Is A Star – Sly & The Family Stone
  • Star – The Roots
  • The Magician – Graham Bond 
  • Profondo Rosso – M31 (Profondo Rosso 1975) – Goblin
  • Why Am I Waiting – Karen Elson
  • Star Of Wonder – Tori Amos (w/ the Metropole Orchestra, conducted by Jules Buckley, arrangements by John Philip Shenale) 
  • 21 Ghosts III – Nine Inch Nails
  • THIS ISN’T THE PLACE – Nine Inch Nails
  • I Came for Fire – Elvis Perkins
  • LAURA PALMER’S THEME (dream man sax mix) – David Lynch & Angelo Badalamenti; mixed by TWIN PEAKS SOUNDTRACK DESIGN
  • Wrap Your Troubles In Dreams (and Dream Your Troubles Away) – Bill Evans; ft. Percy Heath – Bass; Philly Joe Jones – Drums; Jim Hall – guitar; Freddie Hubbard – trumpet (written by Harry Barris)
  • Enchanted Sky Machines – Judee Sill
  • So I’m Growing Old On Magic Mountain – Father John Misty
  • Mourner’s Dance – Devendra Banhart
  • And So I Know – Stone Temple Pilots
  • Suite For A Foggy Day (In London Town) – David Bowie & Angelo Badalamenti (composed by George Gershwin, with lyrics by Ira Gershwin)
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[And Death Shall Have No Dominion / 5 Ghosts I – Dylan Thomas / Nine Inch Nails (woodcuts by Antonio Frasconi; photography by Phillip Graybill and Rob Sheridan)]

[Pitch To Voltage – Brian Eno & David Byrne]

[Take Me to the Land of Hell – Yoko Ono Plastic Ono Band]

[Concerning The UFO Sighting Near Highland, Illinois – Sufjan Stevens (illustration by Barbara Ana Gomez)]

[Hanging In The Wire – PJ Harvey (photo by Cat Stevens)]

[Everybody Is A Star – Sly & The Family Stone]

[Star – The Roots]

[The Magician – Graham Bond ]

[Profondo Rosso–M31  – Goblin (from Dario Argento’s film “Profondo Rosso,” 1975)]

[Why Am I Waiting – Karen Elson (photo by Heidi Ross)]

[Star Of Wonder – Tori Amos; (w/ the Metropole Orchestra, conducted by Jules Buckley, arrangements by  John Philip Shenale)  (photo by Danielle Levitt)]

[21 Ghosts III – Nine Inch Nails (photography by Phillip Graybill and Rob Sheridan)]

[THIS ISN’T THE PLACE – Nine Inch Nails]

[I Came for Fire – Elvis Perkins]

[LAURA PALMER’S THEME (dream man sax mix) – David Lynch & Angelo Badalamenti; mixed by TWIN PEAKS SOUNDTRACK DESIGN]

[Wrap Your Troubles In Dreams (and Dream Your Troubles Away) – Bill Evans; ft. Percy Heath – Bass; Philly Joe Jones – Drums; Jim Hall – guitar; Freddie Hubbard – trumpet (written by Harry Barris)]

[Enchanted Sky Machines – Judee Sill]

[So I’m Growing Old On Magic Mountain – Father John Misty]

[Mourner’s Dance – Devendra Banhart (photo by Osk Studio)]

[And So I Know – Stone Temple Pilots]

[Suite For A Foggy Day (In London Town) – David Bowie & Angelo Badalamenti (composed by George Gershwin, with lyrics by Ira Gershwin)]

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abraxas

Abraxas And The Earthman by Rick Veitch

cat

They All Saw a Cat by Brendan Wenzel

the-night-gardener

The Night Gardener by Terry Fan & Eric Fan.

Before Morning by Joyce Sidman

Before Morning by Joyce Sidman

NamelessTP-1

Nameless by Grant Morrison & Chris Burnham

We Stand on Guard by Brian K Vaughan Steve Skroce & Matt Hollingsworth

League-Vol-2

The League of Extraordinary Gentlemen, Vol. 2 by Alan Moore & Kevin O’Neill

Black Dossier

The League of Extraordinary Gentlemen: The Black Dossier by Alan Moore & Kevin O’Neill

loegv3centurybc-fc_sm_lg

The League of Extraordinary Gentlemen (Volume III): Century by Alan Moore & Kevin O’Neill

nemo-covers-1000_lg

Nemo Trilogy: Heart of Ice; The Roses of Berlin; River of Ghosts by Alan Moore and Kevin O’Neill

allkinds

All Kinds of Kisses by Heather Swain & Steven Henry

harbinger

Star Wars Vol. 4: Last Flight of the Harbinger (Star Wars (Marvel) by Jason Aaron

hansolo

Star Wars: Han Solo (Star Wars (Marvel) by Marjorie Liu & Mark Brooks

The White Cat and the Monk

The White Cat and the Monk: A Retelling of the Poem “Pangur Bán” by Jo Ellen Bogart & Sydney Smith

thoreau

Thoreau: A Sublime Life by A. Dan & Maximilien Le Roy

House_on_the_Borderland

The House on the Borderland by William Hope Hodgson

neonomicon_

Neonomicon Paperback by Alan Moore & Jacen Burrows

pinocchio

Pinocchio: The Origin Story by Alessandro Sanna

pablo

Pablo: Art Masters Series by Julie Birmant & Clement Oubrerie

bloody

The Bloody Chamber and Other Stories by Angela Carter

Umbrella Academy

The Umbrella Academy, Vol. 1: Apocalypse Suite / The Umbrella Academy, Vol. 2: Dallas by Gerard Way & Gabriel Ba

gus

Gus & Me: The Story of My Granddad and My First Guitar by Keith Richards & Theodora Richards

dc-the-new-frontier

DC: The New Frontier by Darwyn Cooke

Baudoin, Dali

Dalí: Art Masters Series by Edmond Baudoin

radiantchild

Radiant Child: The Story of Young Artist Jean-Michel Basquiat by Javaka Steptoe

bruno

The Street of Crocodiles and Other Stories by Bruno Schulz (Author), Celina Wieniewska (Translator).

dark disciple

Star Wars: Dark Disciple by Christie Golden and Katie Lucas

Empire-1

Star Wars Legends Epic Collection: The Empire, Vol. 1 – by John Ostrander, Randy Stradley, Haden Blackman, Alexander Freed, Luke Ross, Douglas Wheatley, Jim Hall, Chris Scalf

Empire-2

Star Wars Epic Collection: The Empire Vol. 2 – by Randy Stradley, Dave Ross, Douglas Wheatley

Empire-3

Star Wars Legends Epic Collection: The Empire Vol. 3 – by Haden Blackman, Randy Stradley, Tim Siedell, Agustin Alessio, Gabriel Guzman, Douglas Wheatley, Stephen Thompson, Ivan Fernandez

rise of the sith

Star Wars Epic Collection: Rise of the Sith Vol. 1 – by Scott Allie, Mike Kennedy, Ryder Windham, Randy Stradley, Mahmud Asrar, Lucas Marangon, Ramon Bachs, Davide Fabbri

Ahsoka_novel_cover

Star Wars: Ahsoka by E.K. Johnston

Leonora Carrington

The Complete Stories of Leonora Carrington by Leonora Carrington (published by Dorothy, a publishing project)

What Is a Witch book Text by Pam Grossman Images by Tin Can For

What Is A Witch by Pam Grossman and Tin Can Forest

Tom Waits

Tom Waits on Tom Waits: Interviews and Encounters by Paul Maher Jr. (Editor)

ariver1

A River by Marc Martin

alphabet in bloom

An Alphabet in Bloom by Nathalie Trovato

OONA & BABA

Good Night, Beautiful Moon: An Oona and Baba Adventure (Puffin Rock)

jean-michel-basquiat

Life Doesn’t Frighten Me poem by Maya Angelou, illustrated by Jean-Michel Basquiat

The Shape of Things to Come

American Berserk: Bill Pullman’s Face, and American Pastoral: Sheryl Lee As Laura Palmer; 2 sections from The Shape of Things to Come: Prophecy and the American Voice by Greil Marcus

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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.M.O.P. PRESENTS__[A CRUSH OF CURTAINS]:

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Hello All.

Welcome to A Mouthful Of Pennies! This here MixTape [A CRUSH OF CURTAINS]: is the soundtrack to a film that screened in my skull. __Well I do hope you dig it all and 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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__A..M.O.P. Presents:__[A Crush Of Curtains]:

  • Mr. Bumble – Sunforest
  • I’ll Be Your Baby Tonight – Brothers & Sisters (Dylan cover)
  • Why Don’t You Do Right? – Cal Tjader Feat. Mary Stallings (written by Joseph “Kansas Joe” McCoy)
  • Another Man’s Vine – Tom Waits
  • Open The Door [Skeleton Key Version] – Otis Redding
  • Open The Door, Homer – Bob Dylan & The Band (take 1; The Basement Tapes)
  • Love In Vain – The Rolling Stones (Robert Johnson cover)
  • Cry One More Time – Gram Parsons (J. Geils Band cover)
  • Then You Can Tell Me Goodbye – Bettye Swann (The Casinos cover; written by John D. Loudermilk)
  • Drifter’s Escape – Joan Baez (Dylan cover)
  • Red Walls – crush_DLX (Pop Levi & Bunny Holiday)
  • Stopover Bombay – Alice Coltrane; ft. Pharoah Sanders
  • Lonely Little G-String – Sonny Lester & His Orchestra
  • Clang Boom Steam / Make It Rain – Tom Waits
  • Star Eyes (I Can’t Catch It) – Danger Mouse & Sparklehorse Feat. David Lynch
  • Open The Door Homer – Bob Dylan & The Band (take 2; The Basement Tapes)
  • Wicked Messenger – Bob Dylan
  • Raven – Karen Elson
  • Speak Low – Lotte Lenya (written by Kurt Weill & Ogden Nash; from Broadway musical One Touch of Venus (1943))
  • You Can’t Lose What You Ain’t Never Had – Muddy Waters; ft. Otis Spann on piano, Francis Clay on drums, Willie Dixon on bass, and some combination of Sammy Lawhorn, Pee Wee Madison, and Buddy Guy (on acoustic) on guitar.)
  • The Perfect Drug – Nine Inch Nails
  • Karmacoma – Massive Attack; ft. Tricky
  • Sweet & Pungent – Duke Ellington
  • Overcome – Tricky; ft.  Martina Topley-Bird 
  • Benjamin – Steven Bernstein
  • Altarwise By Owl Light (1st Verse) / A Pair Of Doves – Dylan Thomas / Trent Reznor & Atticus Ross
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[Mr. Bumble – Sunforest]

[I’ll Be Your Baby Tonight – Brothers & Sisters (Dylan cover)]

[Why Don’t You Do Right? – Cal Tjader Feat. Mary Stallings (written by Joseph “Kansas Joe” McCoy)]

[Another Man’s Vine – Tom Waits]

[Open The Door [Skeleton Key Version] – Otis Redding]

[Open The Door, Homer – Bob Dylan & The Band (take 1; The Basement Tapes)]

[Love In Vain – The Rolling Stones (Robert Johnson cover)]

(Cry One More Time – Gram Parsons (J. Geils Band cover)]

[Then You Can Tell Me Goodbye – Bettye Swann (The Casinos cover; written by John D. Loudermilk)]

[Drifter’s Escape – Joan Baez (Dylan cover)]

[Red Walls – crush_DLX (Pop Levi & Bunny Holiday)]

[Stopover Bombay – Alice Coltrane; ft. Pharoah Sanders]

[Lonely Little G-String – Sonny Lester & His Orchestra]

[Clang Boom Steam / Make It Rain – Tom Waits (photo by Anton Corbijn, 2004)]

[Star Eyes (I Can’t Catch It) – Danger Mouse & Sparklehorse Feat. David Lynch (Dark Night of the Soul Photography by David Lynch )]

[Open The Door Homer – Bob Dylan & The Band (take 2; The Basement Tapes) (photo, Rick Danko and Bob Dylan in 1967, by Arie De Reus)]

[Wicked Messenger – Bob Dylan]

[Raven – Karen Elson (photo by Glen Luchford)]

[Speak Low – Lotte Lenya (written by Kurt Weill & Ogden Nash; from Broadway musical One Touch of Venus (1943))]

[You Can’t Lose What You Ain’t Never Had – Muddy Waters; ft. Otis Spann on piano, Francis Clay on drums, Willie Dixon on bass, and some combination of Sammy Lawhorn, Pee Wee Madison, and Buddy Guy (on acoustic) on guitar.)]

[The Perfect Drug – Nine Inch Nails (images by Mark Romanek)]

[Karmacoma – Massive Attack; ft. Tricky]

[Sweet & Pungent – Duke Ellington]

[Overcome – Tricky; ft. Martina Topley-Bird ]

[Benjamin – Steven Bernstein]

[Altarwise By Owl Light (1st Verse) / A Pair Of Doves – Dylan Thomas / Trent Reznor & Atticus Ross (woodcuts by Antonio Frasconi)]

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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.M.O.P. PRESENTS:- DEVENDRA BANHART: SEMILLAS EN EL ALIENTO

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Hello All.

Welcome to A Mouthful Of Pennies! Here you’ve got Semillas en el Aliento, a two volume retrospective platter of the music work of one of my favorite modern artists: Devendra Banhart.

I created these mixes a little while back as a bit of an introduction for a buddy of mine just prior to the release of Banhart’s ninth studio album, the delicate oddity, Ape In Pink Marble, which was released on September 23, 2016 on Nonesuch Records. I think these two mixes are a great compliment to the hopefully long rolling days of summer we have ahead of us. Tracked chronologically, I’ve listed where my selections come from so that you can easily purchase a record you think you’d enjoy, although I highly recommend you get all his work as there’s just so much good stuff not featured here. Also you should pick up his latest, Ape In Pink Marble, which again is not represented here at all.

_

Well I do hope you dig it all and if you dig the mix then please feel free to pass & post it along; if you dig Devendra Banhart then please support him and go out and pick up some of his stuff(and definitely try to catch him live as his shows are always quite special). Oh, If you dig the blog overall there’s always the “FOLLOW BLOG VIA EMAIL” button somewhere down at the bottom

“The Three Secrets of Fatima,” 2003, by Devendra Banhart

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Devendra Banhart: Semillas en el Aliento Vol. 1 (2002-2005)

From: Oh Me Oh My…The Way the Day Goes By the Sun Is Setting Dogs Are Dreaming Lovesongs of the Christmas Spirit (2002)

  • Tick Eats The Olives –
  • Tell Me Something
From: Rejoicing In The Hands(2004)
  • It’s A Sight To Behold
  • The Body Breaks
  • Fall
  • Todo Los Dolores
From: France Inter White Session (9/16/2004)
  • In Golden Empress Hands
From: Niño Rojo (2004)
  • Ay Mama
  • We All Know
  • Little Yellow Spider
  • Be Kind
From: Cripple Crow (2005)
  • Santa Maria Da Feira
  • Long Haired Child
  • Quedate Luna
  • I Feel Just Like A Child (Extended Mix)
  • Some People Ride The Wave
  • The Beatles
  • Dragonflys
  • Cripple Crow
  • Luna De Margarita (Simón Díaz cover)
  • Little Boys
  • White Reggae Troll / Africa
  • La Pastorcita Perdida – (Atahualpa Yupanqui cover) (Heard Somebody Say single B-SIDE)
  • Shame – (I Feel Just Like A Child – Single B-SIDE)
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Devendra Banhart: Semillas en el Aliento Vol. 2 (2007-2013)
From: Smokey Rolls Down Thunder Canyon (2007)
  • Cristobal
  • Samba Vexillographica
  • Seahorse
  • Carmencita
  • I Remember
From: as Megapuss (with Gregory Rogove) from the album Surfing (2008)
  • Adam & Steve
  • Mister Meat [Hot Rejection]
  • A Gun On His Hip And A Rose On His Chest
  • Older Lives
 
From: Rudo y Cursi (Original Motion Picture Soundtrack) (2008)
  • Lindo Cihuatlan
 
From: What Will We Be (2009)
  • Angelika
  • First Song For B
  • Chin Chin & Muck Muck
  • Rats
  • Foolin’
 
From: Mala (2013)
  • Golden Girls
  • Never Seen Such Good Things
  • Mi Negrita
  • Daniel
  • Hatchet Wound
  • Mala
  • Won’t You Come Home
  • Taurobolium

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[photo by Jean Baptiste Mondino, 2006]

 
 
 
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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 Devendra Banhart then please support him and go out and pick up some of his stuff. Oh, If you dig the blog overall there’s always the “FOLLOW BLOG VIA EMAIL” button somewhere down at the bottom

_           _________________   _  ___   _ _________ __________->

THE DEMISE OF THE MASK (VOL 13)__WAITIN’ AT THE HARBOR___

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Hello All.

Welcome to Volume Thirteen 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)__(Volume Seven here)__(Volume Eight here)__(Volume Nine here)__(Volume Ten here)__(Volume Eleven here)__(Volume Twelve here)-

Not only is this the thirteenth volume but it is also the very last in the series. So there you now have a total of seventeen hours and seventeen minutes of music! It all together makes a great soundtrack if you have to spend a day painting the blades of grass in your backyard or something of that nature. I do hope you dig it!

Also below you’ll find an updated list of things I read (or re-read) so far since January of this year. You’ll find the more recent things towards the bottom. These are works that I truly enjoyed and/or loved. I highly recommend them all!

I do want to make special mention of two books here that I believe are real healthy for your sense of reality: Tom Waits on Tom Waits: Interviews and Encounters by Paul Maher Jr. (Editor), and The Complete Stories of Leonora Carrington, with its incredible, twisted beauties like The Happy Corpse Story and How To Start A Pharmaceuticals Business!

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Oh and my son and I fell in love with Marc Martin’s A River

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Well I do hope you dig it all and 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 12)__Waitin’ At The Harbor___
  • This Is I – Juan Wauters
  • – David Bowie
  • Museum Of Sex – Robyn Hitchcock & The Venus 3
  • In A Parade – Paul Simon
  • Son Of Your Father – Elton John
  • Pillow of Your Bones – Chris Cornell 
  • To Kingdom Come – The Band
  • In My Own Dream – Karen Dalton
  • The Passage of the Black Gene – Elvis Perkins
  • Cuckoo Cocoon – Genesis
  • 22 Ghosts III – Nine Inch Nails
  • Dear World, – Nine Inch Nails
  • Lonely Planet Boy – New York Dolls
  • Fundamentally Loathsome – Marilyn Manson
  • Dear Friend – Jonathan Wilson
  • Cluster Ghosts – Madlib
  • Modern Kosmology – Jane Weaver
  • I Can’t Sleep At Night – Gary Higgins
  • The Way That You Sleep – nature films
  • I Guess I Should Go To Sleep – Jack White
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[This Is I – Juan Wauters]

[★ – David Bowie (illustration by Helen Green)]

[Museum Of Sex – Robyn Hitchcock & The Venus 3]

[In A Parade – Paul Simon (art by Chuck Close)]

[Son Of Your Father – Elton John]

[Pillow of Your Bones – Chris Cornell ]

[To Kingdom Come – The Band]

[In My Own Dream – Karen Dalton]

[The Passage of the Black Gene – Elvis Perkins]

[Cuckoo Cocoon – Genesis]

[22 Ghosts III – Nine Inch Nails (photography by Phillip Graybill and Rob Sheridan )]

[Dear World, – Nine Inch Nails]

[Lonely Planet Boy – New York Dolls (art by Greg “Stainboy” Reinel)]

[Fundamentally Loathsome – Marilyn Manson (photo by Mark Seliger, 1998)]

[Dear Friend – Jonathan Wilson]

[Cluster Ghosts – Madlib]

[Modern Kosmology – Jane Weaver]

[I Can’t Sleep At Night – Gary Higgins]

[The Way That You Sleepnature films]

[I Guess I Should Go To Sleep – Jack White (art by Methane Studios)]

Umbrella Academy

The Umbrella Academy, Vol. 1: Apocalypse Suite / The Umbrella Academy, Vol. 2: Dallas by Gerard Way & Gabriel Ba

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

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.

_           _________________   _  ___   _ _________ __________->

THE DEMISE OF THE MASK (VOL 12)__VEHICLES OF CONVEYANCE___

__

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 12)__Vehicles of Conveyance___
  • India – Roxy Music
  • 3 Legs (Thrillington version) – Percy “Thrills” Thrillington (Paul McCartney)
  • Higher – Rihanna
  • Cheshire Cat Cry – Yoko Ono Plastic Ono Band
  • Wayward – Anon (aka Wynn)
  • It Is Obvious – Syd Barrett
  • 3 Legs – Paul & Linda McCartney
  • The Terror/You Are Alone/Butterfly, How Long It Takes To Die – The Flaming Lips
  • The Best Is Yet To Come – Bob Dylan (composed by Cy Coleman, lyrics by Carolyn Leigh)
  • Let Me Be – Parliament
  • Steer Your Way – Leonard Cohen
  • Sister I Need Wine – Guided By Voices
  • Cool Papa Bell – Paul Simon
  • Fekete Beat – Sarolta Zalatnay
  • Big Black Monster – Scott Weiland
  • Star Dream Girl – David Lynch
  • Wampyr (finale) – Goblin
  • Beware Of Darkness – Leon Russell (George Harrison cover)
  • Bluebird of Delhi (Mynah) – Duke Ellington And His Famous Orchestra
  • The Day I Tried To Live – Soundgarden 
  • Goodbye – Anon (aka Wynn)
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Hello All.

Welcome to Volume Twelve 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)__(Volume Seven here)__(Volume Eight here)__(Volume Nine here)__(Volume Ten here)__(Volume Eleven here)-

I do hope you dig this here MixTape as it features some fine, fine music! There’s a couple of selections from the album Universe. Envisioned and created by an artist that alternately goes by the monikers Wynn, W.Y.N.N., and ANON, Universe is an assemblage of brief bursts, soundscapes, scrapes, sodden ambiance, demented little diddies, digital bumps, bedroom tapes, and soft moments of sweeping beauty. These fragmented tracks all seem to step on each-other’s toes as often as they rub elbows. You can catch Wynn playing live on Sat. June 3rd, 2017 around 9PM at the gallery/performance space Orgy Park:

Located in Bushwick Brooklyn between Wilson and Knickerbocker Ave
237 Jefferson Street 1B
Brooklyn, NY 11237
929 234 1277 (p)
orgypark(at)gmail.com
 Elsewhere on the mix there’s the incredibly funky “Cheshire Cat Cry” by then 80 year old Yoko Ono, featuring Lenny Kravitz and her fluid group Plastic Ono Band helmed by her supremely talented son Sean Lennon. “Cool Papa Bell” comes from Paul Simon‘s last record, the fantastic Stranger to Stranger released  a year ago in June of 2016. I highly recommend picking that one up! You’ll also hear  Leon Russell‘s re-imagining of the great George Harrison tune, “Beware of Darkness.” This version closes out Russell’s second solo album Leon Russell and the Shelter People, released in May of 1971. Along with Russell’s inventive, kinetic take there are Harrison’s incredible lyrics, like:
Watch out now, take care
Beware of soft shoe shufflers
Dancing down the sidewalks
As each unconscious sufferer
Wanders aimlessly
Beware of Maya
 and:
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

You’ll also hear two versions of the Paul McCartney diddy “3 Legs.” There’s the original from the 1971 Paul and Linda McCartney record Ram, and then there’s the orchestral Percy “Thrills” Thrillington version. Under this pseudonym, and alongside arranger Richard Anthony Hewson, McCartney served as producer for the record Thrillington, which is an instrumental cover version of the entire album of Ram recorded during the sessions for the album proper itself in 1971. It would be released with little notice 6 years later in 1977, but I think it’s a ton of fun! This mix has got “Fekete Beat” (Black Beat) which can be found on the compilation of Hungarian star Sarolta Zalatnay‘s finest work of the seventies, put out in 2007 by one of my favorite record labels, Finders Keepers and their US distribution arm, B-Music.

Featured here as well is a long, unnerving triptych by The Flaming Lips from their 2013 LP, The Terror. On this record the group strip their usual sound of vivid squiggles and leave it as something skeletal—shards of brittle metal made tactile with silver glitter and a patina of chemical compounds. Lead vocalist Wayne Coyne described the album’s general idea as thus:

“We want, or wanted, to believe that without love we would disappear, that love, somehow, would save us that, yeah, if we have love, give love and know love, we are truly alive and if there is no love, there would be no life. The Terror is, we know now, that even without love, life goes on… we just go on… there is no mercy killing.”

The group’s multi-instrumentalist Steven Drozd explained its premise with:

““The terror is that internal feeling you get that you and everyone you love is going to die.””

Yes, this record is not a pleasant listen, yet I still think it’s an incredible piece of work. You can find the lyrics for the three The Terror selections below:

The Terror
However long they love you, we are all standing alone
The terror’s in our heads, they don’t control the controls
I turn to face the sun, we are still standing alone
At last we’ll stand by the terror, it helps us take the controls
We’ll save the last sunshine, the way I long to go
We’ll save the love, you’ll still love, we’re searching through the dark
We’ll save the last sunshine, the way I long to go
We’ll save the love, you’ll still love, we’re searching through the dark
We’ve all tried to come through
We’ve always tried to come through
We all stretched to come to this
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You Are Alone
Hold on, we long for the bell
Our time is showing our respect
Can I handle the decision needed?
And I have to lay on reality’s dream
Oh-oh, oh-oh, oh-oh, oh-oh
Just as I want your ecstasy appear
Just enough to make me wanna feel
Through the love we sacrifice now
It’s the only sound of your own fear
Oh-oh, oh-oh, oh-oh, oh-oh
You’re not alone, you are alone
You’re not alone, you are alone
Oh-oh, oh-oh, oh-oh, oh-oh
Oh-oh, oh-oh, oh-oh, oh-oh
You’re not alone, you are alone
You’re not alone, you are alone
Oh-oh, oh-oh, oh-oh
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Butterfly, How Long It Takes To Die
If you’ve ever really seen the sun rise
You will see how many times it tries
If you’ve ever really seen the sun set
You will see how long it takes to die
You can see the butterfly has landed
Landed on your prison plates, you’re out
You can feel it’s trouble making a teardrop
You will see how long it takes to fly
You can see the universe beginning
Making all the sun and the sky
You can see the universe is ending
Making love darker than the night
The penultimate song here on this MixTape is one that has long been one of my favorites by the band Soundgarden: “The Day I Tried to Live.” Recently departed frontman Chris Cornell (R.I.P.) has seemingly always been praised for his stunning vocals, however, I feel that he’s never received the deserved respect for his gifts with phrasing, melody, and poetic craft in terms of his lyrics. These are all on powerful display here on this song released in 1994 as the second single from the band’s fourth studio album, Superunknown. Just listen to the adroit manner in which he curves and pulls the song’s attention grabbing opening of:
I woke the same as any other day
except a voice was in my head.
It said, “Seize the day, pull the trigger,
drop the blade and watch the rolling heads.”

 This song to me (and so appropriately for a fourteen-year-old boy in NYC) has always seemed to be about someone struggling to overcome their anti-social behaviors and the perverse superiority complexes that blossom from them—perverse in that they stem from a territory of mental anguish and depression turned vicious even if withdrawn. It’s a belief that, no, you are not better than anyone, but yes, they are worse than you. (Now that I think of it, this might have been the predominant mood of adolescents in the early 90s, and of the culture that appealed to them, such as supposed Grunge music). The singer here summons the courage to “one more time” go out and “try to live,” even if that life requires him to “wallow[…] in the blood and mud with all the other pigs.” Yes, even if he detests the society he is attempting to join, one that leaves him declaring with a shout:

The day I tried to win
I dangled from the power lines
And let the martyrs stretch
 Even though it all seems so pointless and futile, because:
Words you say
Never seem to live up to the ones inside your head
The lives we make
Never seem to ever get us anywhere but dead
Yes, even though this attempt at life leads to an awful confrontation, a realization that he confesses with:
I learned that I was a liar…just like you…
 Yes, even despite all this the singer tries to live, because the alternative is always and only just a lonesome anguish with your own abysmal brain. Yes, even though at the end of the day he will fail “to live” and dismally wail:
I woke the same as any other day you know
I should have stayed in bed
Yet, you get the sense that the singer will try again tomorrow, that tomorrow it will again be:
One more time around
(Might do it)
One more time around
(I might make it)
This is truly a stunning song on a phenomenal album. The experimentation in musicality, narratives, and odd melodies featured throughout Superunknown are pushed even further on their next record, which has always been (unfashionably, I know) my favorite by them: Down on the Upside. If  down in my basement I can find my copy of both that and Cornell’s first solo studio album, the beautiful Euphoria Morning released in 1999, well then I’ll certainly be featuring them on future mixes in tribute of a talented, sensitive artist that succumbed way too young.
On a somewhat more silly yet no less earnest or appreciative note; at sixteen-years-old as soon as the thin whiskers on my face began to grow a bit thicker and dark I started to shape them with a razor into a disconnected mustache and a sloped tuft on the chin that ran tight along the jaw line, curving up to meet the sideburns. Essentially this is a scruffier version of what is known in Queens by the dysphemism of Puerto Rican Chin Strap. I have more or less sported this same look for roughly twenty years. I would guess that my adolescent friends assumed that this was a result of my admiration (infatuation, I’m sure they’d tease) for the actor Johnny Depp. When news broke of Cornell”s suicide on the morning of May 18, 2017, I suddenly recalled how as an awkward sixteen-year-old boy (as I’m now sure they all are) I really wanted to be sexy and cool (as I’m now sure they all do). From March to November of 1996 (I turned 16 in July) Soundgarden released three music videos to accompany songs used to promote the record Down on the Upside: “Pretty Noose;” “Burden in My Hand;” and “Blow Up the Outside World.”

I can now clearly remember seeing the pensive and handsome Chris Cornell (and his beard) in those videos and thinking something along the lines of, “now that is a cool American male, now that is a sexy American male,” with all the poetic sensitivity yet artistic power and artistic aggression that I believed went into that. Now it might seem trivial or even disrespectful to discuss facial-hair fashion choices in the context of someone’s tragic death, but I will forever be grateful to this wonderful artist whose presence helped a suffering young man feel a little confidant, a little sexy and a little cool.

Again, Chris Cornell thank you and may you rest in peace.
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Well, there’s all this and a whole bunch of other fantastic sounds so go on down and press play !

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—————–======ENJOY YOURSELF____———–

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A MOUTHFUL OF PENNIES PRESENTS:
__The Demise Of The Mask (Vol 12)__Vehicles of Conveyance___
  • India – Roxy Music
  • 3 Legs (Thrillington version) – Percy “Thrills” Thrillington (Paul McCartney)
  • Higher – Rihanna
  • Cheshire Cat Cry – Yoko Ono Plastic Ono Band
  • Wayward – Anon (aka Wynn)
  • It Is Obvious – Syd Barrett
  • 3 Legs – Paul & Linda McCartney
  • The Terror/You Are Alone/Butterfly, How Long It Takes To Die – The Flaming Lips
  • The Best Is Yet To Come – Bob Dylan (composed by Cy Coleman, lyrics by Carolyn Leigh)
  • Let Me Be – Parliament
  • Steer Your Way – Leonard Cohen
  • Sister I Need Wine – Guided By Voices
  • Cool Papa Bell – Paul Simon
  • Fekete Beat – Sarolta Zalatnay
  • Big Black Monster – Scott Weiland
  • Star Dream Girl – David Lynch
  • Wampyr (finale) – Goblin
  • Beware Of Darkness – Leon Russell
  • Bluebird of Delhi (Mynah) – Duke Ellington And His Famous Orchestra
  • The Day I Tried To Live – Soundgarden 
  • Goodbye – Anon (aka Wynn)

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[India – Roxy Music]

[3 Legs (Thrillington version) – Percy “Thrills” Thrillington (Paul McCartney)]

[Higher – Rihanna]

[Cheshire Cat Cry – Yoko Ono Plastic Ono Band]

[Wayward – Anon (aka Wynn)]

[It Is Obvious – Syd Barrett (art by Storm Thorgerson)]

[3 Legs – Paul & Linda McCartney]

[The Terror/You Are Alone/Butterfly, How Long It Takes To Die – The Flaming Lips (art by Steven Fiche)]

[The Best Is Yet To Come – Bob Dylan (composed by Cy Coleman, lyrics by Carolyn Leigh)]

[Let Me Be – Parliament]

[Steer Your Way – Leonard Cohen (art by Jenny Holzer)]

[Sister I Need Wine – Guided By Voices]

[Cool Papa Bell – Paul Simon]

[Fekete Beat – Sarolta Zalatnay]

[Big Black Monster – Scott Weiland (photo by Brie Childers, 2008)]

[Star Dream Girl – David Lynch]

[Wampyr (finale) – Goblin]

[Beware Of Darkness – Leon Russell]

[Bluebird of Delhi (Mynah) – Duke Ellington And His Famous Orchestra]

[The Day I Tried To Live – Soundgarden ]

[Goodbye – Anon (aka Wynn)]

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

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.

_           _________________   _  ___   _ _________ __________->

THE DEMISE OF THE MASK (VOL 10)__NAPHTHALENE MAGNOLIAS #28___

__

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

____________———-___=

—  –   ————-______________ ->

Hello All.

Welcome to Volume Ten 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)__(Volume Seven here)__(Volume Eight here)__(Volume Nine here)-

This here MixTape features some fine, fine music! There’s both Madeleine Peyroux and Al Green, each covering a Hank Williams original. In addition to Bob Dylan performing “It’s All Over Now, Baby Blue” live in 1975, there’s Elvis Presley‘s fantastic 1966 cover of Dylan’s unreleased gem, “Tomorrow Is A Long Time” and then there’s the stunning supergroup known as The New Basement Tapes who collaborated to complete songs based upon newly uncovered lyrics handwritten by Bob Dylan in 1967 when he was recording with The Band what would come to be known as The Basement Tapes. The New Basement Tapes performance of “Down On The Bottom” features vocals by Jim James (of the band My Morning Jacket), which are incredibly Dylanesque.

You’ll get to hear Bessie Smith‘s  May 26, 1925 recording of “Careless Love” featuring Louis Armstrong (cornet), Fred Longshaw (piano), and Charlie Green (trombone). (I’ve still yet to see the 2015 Dee Rees directed and Queen Latifah starring biopic Bessie, but I did hear it was pretty great.)

I do know that Bessie Smith died in 1937 from injuries in a car accident and was buried in an unmarked grave. In August of 1970 Janis Joplin paid tribute to one of her greatest influences by purchasing a proper tombstone to be erected on Smith’s grave-site. This act of respect and Joplin’s own young demise are the subject of the next tune you’ll hear: Dory Previn’s A Stone for Bessie Smith.” This is followed by Janis Joplin’s lovely take on Richard Rodgers‘ and Lorenz Hart‘s 1935 song “Little Girl Blue.” Joplin’s version appears on my favorite of her albums,  I Got Dem Ol’ Kozmic Blues Again Mama! released on September 11, 1969. I did watch Amy J. Berg’s great (if saddening) 2015 documentary Janis: Little Girl Blue and that I can definitely recommend!

You’ll also hear here on this MixTape two by Bowie, and one of my favorite songs by Steve Harley & Cockney Rebel, “Sebastian.” Self-described by Harley as “possibly a sort of Gothic love song, possibly not: I’m not really sure to be honest,” “Sebastian” is certainly dramatic glam rock, featuring a 50-plus piece orchestra and choir, with orchestral arrangements by Andrew Powell. In 2008 Harley would go on to say:

“It’s poetry. It means what you want it to mean. ‘Sebastian’ is the conduit, the tubes through which I took myself on that journey to write the story. I can’t say for sure, but I wouldn’t have been far away from tripping when I wrote ‘Sebastian.’ LSD, certainly, created so many incidents in your life, so many images, so much madness and mayhem, as well as great tranquility if you were lucky. I can’t define its meaning. It’s like most poetry, it’s a lovely word.”

Yes there’s all this and a whole bunch of other good stuff so go on down and press play !

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—————–======ENJOY YOURSELF____———–

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A MOUTHFUL OF PENNIES PRESENTS:
__The Demise Of The Mask (Vol 10)__Naphthalene Magnolias #28___
  • It’s All Over Now, Baby Blue – Bob Dylan (live Montreal Forum, Canada, December 4, 1975)
  • Down On The Bottom – The New Basement Tapes (ft. Rhiannon Giddens, Elvis Costello, Taylor Goldsmith, Jim James, Marcus Mumford, produced by T Bone Burnett) [lyrics by Bob Dylan]
  • Weary Blues – Madeleine Peyroux (Hank Williams cover)
  • Careless Love – Bessie Smith
  • Stone For Bessie Smith – Dory Previn
  • Little Girl Blue – Janis Joplin (written by Lorenz Hart, Richard Rodgers)
  • Rock ‘N’ Roll Suicide – David Bowie (live July 1974)
  • Wild Is The Wind – David Bowie (Nina Simone cover, written by Dimitri Tiomkin and Ned Washington)
  • I’m So Lonesome I Could Cry – Al Green (Hank Williams cover)
  • The Gentle Hum Of Anxiety – Trent Reznor & Atticus Ross
  • Feminine Effects – of Montreal (ft. Rebecca Cash)
  • Sebastian – Steve Harley & Cockney Rebel
  • The Rough With The Smooth – Geoff Bastow
  • Miley Tibetan BowlzzzEvil is but a Shadow – Miley Cyrus (ft. The Flaming Lips)
  • Tomorrow Is A Long Time – Elvis Presley (Bob Dylan cover)
  • The Priest – Joni Mitchell
  • As The Orchard Is With RainEarth Has Doors, Let Them Open – Wymond Miles
  • A Reflection (edit) – Trent Reznor & Atticus Ross

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[It’s All Over Now, Baby Blue – Bob Dylan (live Montreal Forum, Canada, December 4, 1975) (photo by Ken Regan)]

[Down On The Bottom – The New Basement Tapes ]

[Weary Blues – Madeleine Peyroux (hank Williams cover)]

[Careless Love – Bessie Smith]

[Stone For Bessie Smith – Dory Previn]

[Little Girl Blue – Janis Joplin (written by Lorenz Hart, Richard Rodgers)]

[Rock ‘N’ Roll Suicide – David Bowie (live July 1974)]

[Wild Is The Wind – David Bowie (photo by Michael Ochs, 1976)]

[I’m So Lonesome I Could Cry – Al Green (Hank Williams cover)]

[The Gentle Hum Of Anxiety – Trent Reznor & Atticus Ross (artwork by Rob Sheridan. 2010)]

[Feminine Effects – of Montreal (ft. Rebecca Cash) (photo by Trompe L’oeil Photomagique, 2012)]

[Sebastian – Steve Harley & Cockney Rebel]

[The Rough With The Smooth – Geoff Bastow]

[Miley Tibetan Bowlzzz / Evil is but a Shadow – Miley Cyrus (ft. The Flaming Lips)]

[Tomorrow Is A Long Time – Elvis Presley (Bob Dylan cover)]

[The Priest – Joni Mitchell]

[As The Orchard Is With Rain / Earth Has Doors, Let Them Open – Wymond Miles]

[A Reflection (edit) – Trent Reznor & Atticus Ross]

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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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A MEAL FOR MEMORY (The Seven-Cent Inamorata)

_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 stuff.

Hello one & all! welcome to A Mouthful Of Pennies’ latest MixTape: A Meal For Memory (The Seven-Cent Inamorata). This post feels particularly special to me, for it is certainly one of my personal favorites in terms of my own MixTapes, and I really am quite proud of all I have written below. A labor of love, this sentiment is particularly true of my long, sprawling meditation on the extraordinary and inspiring art of recently deceased David Bowie (R.I.P.). If you have the time I would definitely appreciate your attention to that and any comments you might have.

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The Seven-Cent Inamorata


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A MEAL FOR MEMORY_CVR

A MOUTHFUL OF PENNIES PRESENTS: A MEAL FOR MEMORY (The Seven-Cent Inamorata)
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A Mouthful Of Pennies Presents: A Meal For Memory (The Seven-Cent Inamorata)

  • Flying – Anon
  • Map To The Treasure – Laura Nyro [Live At The Fillmore East May 30, 1971]
  • Soon Forgot -Anon
  • I’m the One – Annette Peacock
  • Soul of a Village Pt. 2 (45 edit) – Joe Zawinul
  • Divider – Scott Weiland
  • Obsidian Currents – of Montreal
  • You Will Not Take My Heart Alive – Joanna Newsom
  • Prélude à l’après-midi d’un faune – Claude Debussy [performed by David Robertson conducting the BBC Symphony Orchestra, recorded live at the Barbican 11/29/2007]
  • Sweet Thing/Candidate/Sweet Thing (Reprise) – David Bowie
  • Love – Margo Guryan
  • Mythical Kings and Iguanas – Dory Previn
  • Echo In Your Mind – Susan Christie
  • Uncorrected Personality Traits – Robyn Hitchcock
  • Wooden Empire – Noah Georgeson
  • Future Cloud -Anon
  • Old Western Movies – written by Jack Kerouac, performed by William S. Burroughs & Tomandandy
  • Follow The Light – Death And Vanilla
  • (1849) – Annabel (lee)
  • Green Shirt – Elvis Costello & The Attractions

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A MEAL FOR MEMORY 
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universe
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FLYING – ANON
This mixtape features a few selections (“Flying,” “Soon Forgot,” “Future Cloud“) from the album Universe. Envisioned and created by an artist that alternately goes by the monikers WynnW.Y.N.N., and ANONUniverse is an assemblage of brief bursts, soundscapes, scrapes, sodden ambiance, demented little diddies, digital bumps, bedroom tapes, and soft moments of sweeping beauty. These fragmented tracks all seem to step on each-other’s toes as often as they rub elbows. Considering the album as a whole, I once described it to the artist as “nearly unlistenable,” and I’m still not quite sure if he took offense to my critique. However, that certainly was not my intention as it is the “nearly” that functions as the operative word in my phrase, and it is the “nearly” that makes me return over and over to this fascinating LP.
    The musicianship is first-rate (mostly provide by Wynn himself) and even features accomplished jazz drummer Keith Carlock on a few tracks. Yet, there is something so solipsistic, so insular about this work that attempts to thwart you from getting into a groove with it, but when and if you do it can be a bit like being a solid foreign object tossed about the fluids and vapors inside another’s skull for 48 minutes; which can be both mesmerizing and more than a little disconcerting. There is little of the spectacle to this album and so it does not care about your “enjoyment.” Your enjoyment is not the point.

    Wynn’s explanation to me that Universe was intended as something wholly personal and really just for himself–something of a death-bed project even–at least confirms that I am not completely off-base in my listening. I do recommend that you check it out yourself and see how it makes you feel. I will say that it is exactly this sort of singularity in terms of vision and production that both frustrates and excites me about other work I’m fond of, like Ishmael “Butterfly ” Butler and Tendai “Baba” Maraire’s “weirdo” hip-hop project Shabazz Palaces (who I’ve featured before on a few mixes).

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[painting by Walt Yablonsky]

[painting by Walt Yablonsky]

MAP TO THE TREASURE – LAURA NYRO
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Here on A Meal For Memory I use the first two aforementioned Universe tracks to bookend Bronx’s own Laura Nyro and her stunning live performance of her song “Map To The Treasure.” This is taken from her appearance on May 30, 1971 at Bill Graham’s long-gone and short-lived East Village venue The Fillmore East. The reclusive 23 year old singer/songwriter here appears alone with just her voice and her piano, boldly stripping her songs down to their bittersweet essence.

    Gone are all the subtle layers of instrumentation and sophisticated flourishes that do so distinguish her supposed trilogy of albums: the 60s girl-group street soul strut meets avant-garde jazz in 1968’s Eli and the Thirteenth Confession; the intimate, intense, fractured sound made dramatic when suddenly punctuated by Broadway noir horns and strings in 1969’s New York Tendaberry; and the somewhat more casual feel of Muscle Shoals’ Swampers band on Side 1 descending into the exotic on Side 2 with Alice Coltrane‘s aquatic harp and the wail of Duane Allman’s guitar in 1970’s Christmas and the Beads of Sweat.

eli

nytend

christmassweat

It is from Side 2 of the latter that “Map To The Treasure” originally comes. In her unique phrasing, Nyro coos and questions over the scant droplets of her piano: Where is your love? Gone to Spanish Harlem? Gone to buy you pastels? Where is your love? Gone to Spanish Harlem? Gone to buy you books and bells beneath Indian summer?

Then as desire excites and knots the tune–desire for her “pretty medicine man”–she makes her move and lets him know:

For you I bear down

Soft and burning

In the treasure of love

In the treasure of love

In the treasure of love, love

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UNI info
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SOON FORGOT – ANON
Oh I soon soon forgot
It is fun to be here with you
Oh I made you flat
And now we should
Before a thing confused
Too much by flight
Resting now
I’m glad to be so tired
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ANNETTE PEACOCK
I’M THE ONE – ANNETTE PEACOCK
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As the carnival wheeze of Wynn’s “Soon Forgot” fades we hit the dissonant but real loose free jazz squall that opens both the title track and album of Brooklyn-born Annette Peacock‘s 1972 release, I’m The One. (including Brazilian percussionist extraordinaire Airto Moreiraand Mike Garson, the pianist that would go on to provide much of the color and motion to Aladdin Sane and Diamond Dogs, as well as David Bowie‘s other brilliant releases of the 90’s and 2000’s, 1.OutsideHeathen, and Reality), it’s as if Peacock and her team had to toss all these sounds into the pot before she could tease out the mutations of soul and blues grooves that serve as the vertebrae for this and much of the other tracks that make up this odd record. An early pioneer of synthesizers, Peacock and her husband, pianist Paul Bley, had persuaded Robert Moog to give them a prototype of his MOOG Modular Synthesizer by convincing him they would demonstrate that his instrument could be used to make serious music and not just novelties and jingles.
bley
Soon after she would innovate the use of the synthesizer to process and manipulate the human voice, which you’ll hear her here use to startling effect–at times to me delirious, bloody, and delicious all at once.
PEACOCKl
 
    In a 2014 interview she described the process behind this innovation as, “It was just a case of working out how to get in there and control the oscillators and the envelopes and then how to control the sound once you had made contact with it.”
Contact! Yes, contact could serve as a great one word signifier for this album as a whole.
    Annette Peacock comes on strong and seductive, informing her inevitable conquest:  
 

I’m the one / You don’t have to look any further / I’m the one / I’m here, right here, for you

ANNETTE PEACOCK2
      
 

     And then with a buzz and ache that comes from a raw territory of feminine dynamism:

Can’t you see it in my eyes

Can’t you hear it in my voice

Can’t you feel it in my skin

When you’re buried deep within me

I’m the one for you

   I love how as she and her team push the R&B boogie elements of the tune to their limits–as if testing the tensile strengths of traditional song structures–the edges begin to glitch, squelch, and blister. Her keen howl burns through the organs and soulful riffs of brass, spiraling further, further, until it all melts. It’s not so much that these synthesized sounds are layered atop, but, as the tune is stretched so thin that it begins to peel, it is revealed that this whole time just beneath the surface lay this stew of fractal patterns and a strange molten nectar being squeezed from burning wires. Typically, I find that synths are applied to a song in order to create glacial tones or gossamer ones. However, throughout the record the affect is more carnal: something as frightening as pulmonary aspiration; or more sensuous, hot breath dragged along the throat, a wet press from the muscles of an inner thigh, the squirm of the viscera, a pulse, squeeze, and twitch from sexual organs.
 
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zawinul
SOUL OF A VILLAGE – JOE ZAWINUL
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A soft drone of strings and a slight twinge of a horn ushers us into the 45 edit of Joe Zawinul‘s “Soul of a Village Pt. 2” Recorded in a session in 1967, this 45 RPM edit was released in 1968 and taken from the album The Rise and Fall of the Third Stream. The improvisational jazz elements bubble within the classically inflected compositions by avant-garde composer/tenor saxophonist William Fischer. Violas and a cello sway along with the drums as the tingle and pull of Zawinul’s Fender Rhodes dances under Jimmy Owens’ muted trumpet. Of course, the Austrian born keyboardist would take much of what he began to explore here and develop them in astonishing ways in collaborations with Miles Davis (In a Silent WayBitches Brew), and then eventually as one of the founding members of Weather Report (working alongside Wayne ShorterMiroslav Vitouš, Alphonse Mouzon, Airto Moreira, Jaco Pastorius and others).
weatherreport
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weilandmirror
DIVIDER – SCOTT WEILAND
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 This lounge act sad tale of two codependent lovers locked and lost in the same impotent spiral–vicious only in its futility–has long been one of my favorite tracks by Scott Weiland.
When she comes divided
She nearly comes alive
scott&mary

[Scott Weiland & ex-wife Mary Forsberg in the May 2000 issue of Jane Magazine. I recently read Forsberg’s memoir Fall to Pieces, and I must say I found it beautiful; very moving, nervous at times yet honest…and actually full with a warm sense of humor.]

weilandxy
Featured on his erratic and stylish solo debut record from 1998, 12 Bar Blues, “Divider” features Weiland’s own work on vibraphone, his brother Michael on Percussion, the fragile hum of a mellotron played by Victor Indrizzo, the lithe and searching work on bass by Martyn LeNoble of Porno For Pyros, and phenomenal Brad Mehldau playing opium parlor piano, which all perfectly apply a graceful sleaze to the lovely slink of Weiland’s vocal melody and lyrics like:
A drinker, he’s a boozer
A junkie, she ain’t shit
Some of them get famous
But most of them just get it
or the recurrent chorus of:

She only cares when her libido is buzzing

Bees only thrive when the honey is there

She knows the way to the script write doctor

She calls him up when the itch gets bad, 
 

and then Weiland informs you of the woefully inevitable:

 
…the itch gets bad…
…the itch gets bad…
 

…the itch gets bad…

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Kevin Barnes

OBSIDIAN CURRENTS – OF MONTREAL

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With a jettison of the manic weight and vertigo that effectively marked much of their previous records, of Montreal mastermind and ringleader Kevin Barnes explored more of a gentle loll through the sound of 1960’s San Francisco in their 2013 LP Lousy with Sylvianbriar; albeit still a highly idiosyncratic one. The structures are tight-knit and the feel intimate. To my ear one of the most honest and gorgeous moments of the record arrives early with the second track, “Obsidian Currents.” This song comports itself through a plain spoken cadence buoyed about by the lilt and wobble of soft psychedelic-folk.
 
Lousy

[gatefold jacket for the LP packaging designed by the incredibly talented Nina Barnes & Jerrod Landon Porter]

    Highly critical, yet still this tune retains a sweet compassion that the majority of “let me tell you something you might not know about yourself” songs can–by their nature–rarely deliver (think young Dylan, Lou Reed). It is an appeal to a loved one (although ironically, and perhaps more poignantly, that loved one might be the singer himself) about their callous rationale and intellectual detachment. More so it is a warning about the logical conclusion to a mind spent dedicated to only concepts and logical conclusions:
 

There is a virus in your tenets

Don’t be naive, you know it’s true

And if you don’t protect yourself

Obsidian currents

Will devour you

    This “virus” of  “obsidian currents” to my mind serves as a poetic descriptor for the alluring pull and singular end-point of pursuing to “live beyond good and evil” when “you have committed yourself wholly to the dominion of semantics and ideas”: Nihilism.
    Conducting a marvelous investigation with hopscotch-like gambols between the recondite traditions, phenomena, art movements, and demands that have had a force in shaping modern culture, in 1989 music journalist and cultural critic Greil Marcus published Lipstick Traces: A Secret History of the 20th Century. At several points within this book he writes:
lipsticktracesjpg
“Nihilism is the belief in nothing and the wish to become nothing: oblivion is its ruling passion.”
“Nihilism can find a voice in art, but never satisfaction. Nihilism means to close the world around its own self-consuming impulse […].”
“The nihilist, no matter how many people he or she might kill, is always a solipsist: no one exists but the actor, and only the actor’s motives are real.”
“When the nihilist pulls the trigger, turns on the gas, sets the fire, hits the vein, the world ends.”
ninatwin

[“In order to change perspective, or more so, to open the gateway to a world unseen –Art knew she had to open the perception through the realm of emotions”, (2015) by Nina Grøttland Barnes, aka Gemini Tactics, aka ANIN TIWN ~ NINA TWIN, ex-wife of Kevin Barnes.]

     On a somewhat lighter note, discussing this particular song in an interview with Rolling Stone Magazine‘s Ryan Reed, Kevin Barnes had this to say: “My brother had a funny vision for that one. He said it was a superhero who got beat by his arch-nemesis, and the arch-nemesis has him tied in this dark cellar, and he’s saying these things to this superhero and forcing him to come to terms with his flaws.”
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newsome

[photo by Annabel Mehran]

YOU WILL NOT TAKE MY HEART ALIVE – JOANNA NEWSOM
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And what do you remember most?
The line of the sea seceding the coast?
Fine capillaries glowing with cars?
The comfort you drew from the light of the stars?
It is with these two memorable couplets strung together that Joanna Newsom opens the song “You Will Not Take My Heart Alive” from her latest work of lavish precision, Divers. In an interview regarding her appearance as actor and narrator in Paul Thomas Anderson’s adaptation of Thomas Pynchon’s novel Inherent Vicethe conversation turned to the distance between this and 2010’s three-disc opus, Have One on Me: “I’ve been working hard for a lot of those five years on a new idea.”
       This “new idea” having to do with time, the transcendence of, and this statement she made to Laura Snapes of Uncut magazine:
Everyone’s getting older. When I crossed that line in my mind where I knew I was with the person that I wanted to marry, it was a very heavy thing, because you’re inviting death into your life. You know that that’s hopefully after many, many, many, many years, but the idea of death stops being abstract, because there is someone you can’t bear to lose. when it registers as true, it’s like a little shade of grief that comes in when love is its most real version. Then it contains death inside of it, and then that death contains love inside of it.
[cover art Wildflowers 52i by artist and former NASA thermal engineer, Kim Keever.]

[cover art Wildflowers 52i by artist and former NASA thermal engineer, Kim Keever.]

Lauper
    Admittedly, I am still in the process of engaging and fully appreciating Newsom’s new idea.The first time I listened to this album it was at a ridiculously low volume at 4:30am as I fed my nine-month-old son and attempted to not wake my wife. I truly enjoyed what I could hear, but I must also confess that as a whole at the time it all sounded like various alternate takes of Cyndi Lauper performing her 1986 hit “True Colors” (I know that thematically Lauper’s 1984 hit “Time After Time” might seem more aligned with the concerns of Divers but that is just not what came to mind; and this comparison is in no way meant as an insult as I find Cyndi Lauper to be pretty . fucking . fantastic!).
   Yet, even at low volume those opening lines above struck me, and what followed:

And I rose to take my shape at last

from the dreams that had dogged me through every past,

when, to my soul, the body would say

You may do what you like

as long as you stay.

Harp
  This all delivered in the delicate music-box whirl of Newsom’s odd baroque-pop, with its conflict of light and shadow and yet a fluid exchange between the two. The song at first functions as a courtly dance between her lighthearted if somewhat hesitant harp and her elastic soprano, but as it builds in height it also takes on a heft as if to bear the weight of the words. Small patches of glutinous synthesized keyboards enter and leave with an exquisite sense of timing just as frigid droplets pinprick the melodic line. For all it’s obvious antiquated instrumentation and arrangement, I adore how the song truly sounds as if it is being pushed forward in increments by some strange pedal-pump operated mechanism. Newsom hits an operatic height with the line, “Now the towns and forests, highways and plains / fall back in circles like an emptying drain / And I won’t come round this way again / where the lonely wind abides,” then proceeds to move on by digging in with a repeated defiant sentiment that leads us on out:

and you will not take my heart, alive.

You will not take my heart, alive.

You will not take my heart, alive.

You will not take my heart, alive.

You will not take my heart, alive.

You will not take my heart, alive.

You will not take my heart, alive.

You will not take my heart.

[photo by Jay L. Clendenin, 2015]

[photo by Jay L. Clendenin, 2015]

The whole song lasts no more than four minutes and one second, and yet seems so expansive you might forget where you began or realize that it’s now over.
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Program illustration by Léon Bakst. In 1912 Debussy’s piece was made into a short ballet with costumes and sets by painter Bakst, choreographed and performed by renowned Ballets Russes dancer Vaslav Nijinsky.

Program illustration by Léon Bakst. In 1912 Debussy’s piece was made into a short ballet with costumes and sets by painter Bakst, choreographed and performed by renowned Ballets Russes dancer Vaslav Nijinsky.

PRÉLUDE À L’APRÈS-MIDI D’UN FAUNE – CLAUDE DEBUSSY 

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Translated into English as “Prelude to The Afternoon of a Faun” (first performed in Paris on December 22, 1894, conducted by Gustave Doret), this symphonic poem for orchestra by French composer Claude Debussy (1862–1918) has long been a favorite piece of music for me, just as I relish much of his compositions and “tone paintings.” I will place very little claim towards my knowledge of “Classical” music, but there is something to Debussy’s work–its layered textures, its strokes of color, the way that it seems to both manipulate and accept the immediacy that is inherent in the flux of time–that speaks to me. He had a true appreciation for the sensory nature of man and that it is through a correspondence of those faculties we experience and orient ourselves in temporal existence and in memory. His music is alive. It is a disturbance and it is a pleasure. It is mysterious and wet. It is something you can swim in.
Misty Morning on the Seine [Claude Monet, 1897]

Misty Morning on the Seine [Claude Monet, 1897]

[Claude Debussy (1862-1918), photo taken in 1904.]

[Claude Debussy (1862-1918), photo taken in 1904.]

    In a 1906 letter to his step-son Debussy argued: “Music has this over painting–it can bring together all manner of variations of color and light–a point not often observed though it is quite obvious.” It is with this same sort of fluid mind frame that he attempted to evoke scents in his piano prelude “Sounds and Fragrances Swirl Through the Evening Air.” That work was inspired by Charles Baudelaire’s poem Harmonie du Soir, featured below in translation by William Aggeler:
One illustration by Beresford Egan (1905 – 1984) for a 1929 edition of Charles Baudelaire’s 1857 volume of poetry Les Fleurs Du Mal (The Flowers of Evil).

One illustration by Beresford Egan (1905 – 1984) for a 1929 edition of Charles Baudelaire’s 1857 volume of poetry Les Fleurs Du Mal (The Flowers of Evil).

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Evening Harmony

The season is at hand when swaying on its stem

Every flower exhales perfume like a censer;

Sounds and perfumes turn in the evening air;

Melancholy waltz and languid vertigo!

.

Every flower exhales perfume like a censer;

The violin quivers like a tormented heart;

Melancholy waltz and languid vertigo!

The sky is sad and beautiful like an immense altar.

.
The violin quivers like a tormented heart,

A tender heart, that hates the vast, black void!

The sky is sad and beautiful like an immense altar;

The sun has drowned in his blood which congeals…

.
A tender heart that hates the vast, black void

Gathers up every shred of the luminous past!

The sun has drowned in his blood which congeals…

Your memory in me glitters like a monstrance!

 .
    To return to the work featured on this mix, Debussy was very engaged with the cultural innovations and mutations occurring in Fin de Siècle France: Aestheticism, Decadence, and Symbolism, amongst various other movements. Debussy himself was regarded as one of the prominent figures associated with Impressionist music, yet he himself rejected that association and viewed it as only some label created by art critics.
[Despite Debussy’s rejection of the “Impressionist” label, one can see why Margaret Lam would state that when considering “Debussy’s vision focused on the colours and textures of sound, rather than the established structures and grammar of music” […] “Claude Monet’s paintings, like Rouen Cathedral, Portal in the Sun, 1894, may be more helpful in understanding the music of Claude Debussy than other types of analysis.”]

[Despite Debussy’s rejection of the “Impressionist” label, one can see why Margaret Lam would state that when considering “Debussy’s vision focused on the colours and textures of sound, rather than the established structures and grammar of music” […] “Claude Monet’s paintings, like Rouen Cathedral, Portal in the Sun, 1894, may be more helpful in understanding the music of Claude Debussy than other types of analysis.”]

Debussy much more aligned himself with the literary school of his period known as Symbolism, and it is from a work by major French symbolist poet Stéphane Mallarmé (1842-1898) that “Prélude à l’après-midi d’un faune” takes both its title and inspiration. Mallarmé believed in the essential creative function of poetry (as in the theological sense of “creation”) and in a complexity to art where the audience should have to participate–they must pull meaning out of both the semantic and acoustic surface of his words.
[Stéphane Mallarmé by Edouard Manet (1832-1883). On display at the Musée d’Orsay in Paris, France, this portrait was painted in 1876, the year of the publication of Mallarmé’s Après-midi d’un faune, a long poem illustrated by engravings by Manet.]

[Stéphane Mallarmé by Edouard Manet (1832-1883). On display at the Musée d’Orsay in Paris, France, this portrait was painted in 1876, the year of the publication of Mallarmé’s Après-midi d’un faune, a long poem illustrated by engravings by Manet.]

     Mallarmé described the heart of his own poem, L’après-midi d’un faune as a “very lofty and beautiful idea,” and it is clear that this syntactically complicated reworking of the Ovidian myth of Pan–with here this Satyr accompanying himself on his reed pipes while recounting (or living) the erotic fantasy of his failed possession of two nymphs–deals with the elemental confusion within desire and memory. The poem begins with the Faun stirring to indulge himself in sensuous, if frustrated, memories:
[1876 Engraving by Edouard Manet for Mallarmé’s Après-midi d’un faune.]

[1876 Engraving by Edouard Manet for Mallarmé’s Après-midi d’un faune.]

These nymphs, I would perpetuate them.
So bright
Their crimson flesh that hovers there, light
In the air drowsy with dense slumbers.
Did I love a dream?
My doubt, mass of ancient night, ends extreme
In many a subtle branch, that remaining the true
Woods themselves, proves, alas, that I too
Offered myself, alone, as triumph, the false ideal of roses.

[1876 Engraving by Edouard Manet for Mallarmé’s Après-midi d’un faune.]

[1876 Engraving by Edouard Manet for Mallarmé’s Après-midi d’un faune.]

After a total of 110 lines the work concludes with the Faun returning to his slumber with a tranquil resignation:

Farewell to you, both: I go to see the shadow you have become.

 

[(considered the greatest male ballet dancer of the 20th Century) Vaslav Nijinsky as the faune, 1912.]

[(considered the greatest male ballet dancer of the 20th Century) Vaslav Nijinsky as the faune, 1912.]

[Lubov Tchernicheva as a Nymph and Vaslav Nijinsky as the Faun [photo by Baron Adolf de Meyer, Vogue’s First Staff Photographer]

[Lubov Tchernicheva as a Nymph and Vaslav Nijinsky as the Faun [photo by Baron Adolf de Meyer, Vogue’s First Staff Photographer]

[Lydia Nelidova and Vaslav Nijinsky entwined.]

[Lydia Nelidova and Vaslav Nijinsky entwined.]

[Vaslav Nijinsky as the Faun [photo by Baron Adolf de Meyer.]

[Vaslav Nijinsky as the Faun [photo by Baron Adolf de Meyer.]

[Still from Charlie Chaplin’s Sunnyside (released June 15, 1919). Nijinski and Chaplin met in 1916 on the set of Easy Street and Nijinsky complimented Charlie on how balletic his moves were. With this fantasy scene of a dance with wood nymphs Chaplin payed homage to Vaslav Nijinski and the ballet he choreographed, L’Après-midi d’un faune (The Afternoon of a Faun). Below you can watch this short silent film written, directed and starring the always fantastic Charlie Chaplin.]

[Still from Charlie Chaplin’s Sunnyside (released June 15, 1919). Nijinski and Chaplin met in 1916 on the set of Easy Street and Nijinsky complimented Charlie on how balletic his moves were. With this fantasy scene of a dance with wood nymphs Chaplin payed homage to Vaslav Nijinski and the ballet he choreographed, L’Après-midi d’un faune (The Afternoon of a Faun). Below you can watch this short silent film written, directed and starring the genius and always fantastic Charlie Chaplin.]

    In 1891 the journalist Jules Huret (1864-I915) interviewed Mallarmé on the significance of symbolism, the obscure play of associations, the sacred magic of evocation in poetry, and the end of naturalism. Here Mallarmé asks, “Is there not something abnormal in the certainty of discovering […]?” He also states:
 .
“To name an object is to suppress three-quarters of the enjoyment of the poem, which derives from the pleasure of step-by-step discovery; to suggest, that is the dream. It is the perfect use of this mystery that constitutes the symbol: to evoke an object little by little, so as to bring to light a state of the soul or, inversely, to choose an object and bring out of it a state of the soul through a series of unravelings.
[…]
“The childishness of literature, up to now, has been to believe, for instance, that choosing a certain number of precious stones and writing down their names on a piece of paper, even very precisely, was to make precious stones. Well, no! Poetry being an act of creation, one must draw from the soul of man states, glowing lights, of such absolute purity that, well sung and well lighted, they become the jewels of man: that is what is meant by symbol; that is what is meant by creation, and the word poetry here finds its meaning: it is, in sum, the only possible human creation. And if, in truth, the precious stones with which one adorns oneself do not convey a state of the soul, one has no right to wear them . . .”
.
    Mallarmé even extends these ideas to musical composition:
“In music, the same transformation has occurred: the firmly delineated melodies of yesteryear have made way for an infinity of shattered melodies that enrich the fabric without making us feel the cadence as strongly.”
 .
[Jim Morrison as the Faune. photographed by Frank Lisciandro, 1970.]

[Jim Morrison as the Faune. photographed by Frank Lisciandro, 1970.]

Or, perhaps, as Jim Morrison wrote in his poem, Ghost Song:

Enter again the sweet forest

Enter the hot dream

Come with us

Everything is broken up and dances

    In the preparatory notes for his highly ambitious but completely unrealized masterpiece Le Livre (“The Book”) (in which he hoped to reveal “all existing relations between everything”), Mallarmé writes: “Mystery and Drama, Drama and Mystery are only the same thing reversed and presenting the one on the surface while the other is hidden inside.” To my mind it is the sentiment behind that statement that is much in play in the intricate pattern of Debussy’s musical evocation of The Afternoon of a Faun, and it is this that makes it such a pleasure to listen to. Debussy’s music was a radical departure from the grand gestures and formalities of traditional harmonic chordal resolution found in the Romantic era, and he sought to create a music with new harmonic and melodic language. In this Debussy could be said to be largely responsible for what we consider modern music, from “classical” to jazz to pop (and that influence can be clearly cited in works from artists as diverse as Charlie Parker and Trent Reznor).
[A design by Léon Bakst for the stage setting.]

[A design by Léon Bakst for the stage setting.]

    With a sinuous melody played on flute, which intimates the sensual grace of the feminine figure, and the gentle swells of strings, horns, harp, oboe, clarinet, and finger cymbals all utilized to be evocative of a mind at drift, I am not surprised that after this composition’s controversial debut Mallarmé wrote a short note to Debussy that read:
 .
I have just come out of the concert, deeply moved. The marvel! Your illustration of “The Afternoon of a Faun,” which presents a dissonance with my text
only by going much further, really, into nostalgia and into light, with finesse, with sensuality, with richness. I press your hand admiringly, Debussy. Yours, Mallarmé.
 .-________________
[I should of course note that Claude Debussy’s 1894 musical composition is here beautifully performed live in 2007 by the BBC Symphony Orchestra, conducted by the American-born Grammy winning David Robertson who has served as principle guest conductor since 2005.]

[I should of course note that Claude Debussy’s 1894 musical composition is here on this MixTape beautifully performed live in 2007 by the BBC Symphony Orchestra, conducted by the American-born Grammy winning David Robertson who has served as principle guest conductor since 2005.]

-_____
-__________
-________________________________-_____________-_____
-________________ – ______
dd-poster

Art by Guy Peellaert, based on a photo by Terry O’Neill [both 1974]

SWEET THING SUITE – DAVID BOWIE

 

-_
blackstar

[designed by Bowie’s long-time graphic design collaborator Jonathan Barnbrook]

[I feel for context sake that it should be noted that these songs’ inclusion on this mix was done prior to the sudden news of David Bowie‘s death on January 10, 2016, two days after his 69th birthday and the release of his final, harrowing, strange, and truly beautiful record, Blackstar (or ★). This parting album is one that continues to elicit a response of real tears while I listen and sing along. With that in mind I’d like to state that this MixTape and all below should not be seen as the total of my eulogy for this incredible artist, as it could not do justice for all that Bowie’s over five decades of art has meant to me throughout the thirty-six year course of my life, nor the resonance I am sure it will continue to have with me. Additionally, David Bowie’s art and his relationship with his attendant spirit of genius are profoundly complex. To paraphrase Walt Whitman‘s Song of Myself, he is large, he contains multitudes. That being so, I’d love for this to be lucid but find that here I am only able to discuss his art in laborious whorls and intellectual flits that I can only hope at least create a mandala of thoughts caught adrift, but resulting I’m sure in deficient generalities and the broadest of terms, or worse a babbling ouroboros. In short, the essay below is a failure and I know full of holes. Yet, I present you the fragments. To be honest, I will likely tinker with this essay some day to be featured in a post of its own where it can accompany a Bowie tribute mix, much like I did for Lou Reed upon his passing. Of course, it should go without saying, all below are facets of my David Bowie, as I am sure you all have numerous ones of your own.]
To you, David Bowie, in memoriam, I can only return your own words, which you placed as the dying invocation of a young Tibetan monk under stars that look so special as his brains spill out into snow that looks so old:
sevenyears
I praise to you; Nothing ever goes away.
_____-_________
Our alienation goes to the roots. The realization of this is the essential springboard for any serious reflection on any aspect of present inter-human life.
 
We are bemused and crazed creatures, strangers to our true selves, to one another, and to the spiritual and material world — mad, even, from an ideal standpoint we can glimpse but not adopt. 
 
What is to be done? We who are still half alive, living in the often fibrillating heartland of a senescent capitalism — can we do more than reflect the decay around and within us? Can we do more than sing our sad and bitter songs of disillusion and defeat? The requirement of the present, the failure of the past, is the same: to provide a thoroughly self-conscious and self-critical human account of man. 
 
We are effectively destroying ourselves by violence masquerading as love. I am a specialist, God help me, in events in inner space and time, in experiences called thoughts, images, reveries, dreams, visions, hallucinations, dreams of memories, memories of dreams, memories of visions, dreams of hallucinations, refractions of refractions of refractions of that original Alpha and Omega of experience and reality, that Reality on whose repression, denial, splitting, projection, falsification, and general desecration and profanation our civilization as much as anything is based.
rdlaing
.
The above four quotations were all pulled from The Politics of Experience and The Bird of Paradise (public library), the 1967 book by radical, Scottish psychiatrist R.D. Laing (10/7/27 – 8/23/89).
.
bowcrop
    Many might have made the remark that David Bowie’s art is a cold, impersonal thing more concerned with a narcissistic surface image and style rather than authenticity (see for example critic Lester Bangs excellent if shortsighted reviews featured in the brilliant collection Psychotic Reactions and Carburetor Dung)(public library).
lesterbangs
Now, I might accede to certain facets of that argument, but only as I believe that much of the true depth of expression in Bowie’s art was achieved through a meditative manipulation with, against, and between exteriors and such modern concepts as the Constructivism art movement; “the reconciliation of ostensible paradoxes” in Hegel’s dialectic; the synthesizing of multiple abstractions through imagism; an odd and somewhat absurd blend of the Theatre of Cruelty developed by Antonin Artaud with the dramatic theory of “making it strange ” or Alienation Effect developed by German dramatist-director Bertolt Brecht; and the disturbed fun one can have with a simulacrum, as demonstrated through Pop art, particularly how it relates to an individual’s desires regarding celebrity and mass society in the condition of industrialization (and of course, coupled with his obviously quick, inquiring mind, these all seem to be interests that he would acquire organically when considering he was raised in a family plagued by psychosis and various mental illnesses, and that he spent his younger years alternately as a junior visualizer at a London advertising firm, studying the theatrical medium of mime under legendary Lindsay Kemp, and seriously considering becoming a monk while learning Tibetan Buddhism under meditation master Chögyam Trungpa Rinpoche in Scotland).
Lindsay Kemp in his own stage production of Oscar Wilde’s 1891 play, Salomé [photo by Graziano Villa]

Lindsay Kemp in his own stage production of Oscar Wilde’s 1891 play, Salomé [photo by Graziano Villa]

Bowie as Pierrot for 1980's Scary Monsters (And Super Creeps) [photo by Brian Duffy, makeup design by Richard Sharah, costume designed by Natasha Kornilof] Although Bowie's sense of performance was certainly expressive, he always employed an economy of movement that comes from the traditions taught by Kemp.

Bowie as Pierrot for 1980’s Scary Monsters (And Super Creeps) [photo by Brian Duffy, makeup design by Richard Sharah, costume designed by Natasha Korniloff] Although Bowie’s sense of performance was certainly expressive, he always employed an economy of movement that comes from the traditions taught by Kemp.

Many of the photos from the session with photographer/designer Duffy were then given to artist Edward Bell for further treatment.]

Many of the photos from the session with photographer/designer Duffy were then given to artist Edward Bell for further treatment.]

    With these ideas about dramaturgy and numerous other art theories in play, Bowie was able to mate them to his idiosyncratic approach to song-craft, which was certainly innovative yet wholly intuitive. Assimilating and modifying his restless enthusiasms, forthright about the varied range and taste of his influences, Bowie would then turn his own singular talents and personality(ies) and those of his calculatingly chosen collaborators towards transforming them into a more personal and peculiar mechanism of artistic expression. In a society where increasingly narrow definitions and allegiances to lifestyle brands are demanded of us this system for songwriting might seem facile, fraudulent, or worse as grasps towards relevancy. However–with his curious immersion into whatever music, art, theater, and literature that caught the interest of his eclectic mind and his teasing of elements from these sources to service as layers and textures in the pursuit of a work all his own–Bowie’s songwriting should be appreciated for what are truly organic methods. To borrow F. Scott Fitzgerald‘s description of his own technique, Bowie’s processes of accretion, expansion, and reduction are more honest about the natural attitudes and non-linear patterns of the hearts and minds of men and women as they search to express themselves down here in “reality.” As transcendentalist Ralph Waldo Emerson said in his 1841 essay Self-Reliance: “A foolish consistency is the hobgoblin of little minds, adored by little statesmen and philosophers and divines. With consistency a great soul has simply nothing to do. He may as well concern himself with his shadow on the wall.”
Bowie-Nothing-has-changed
      In her essay in the collection David Bowie: Critical Perspectives, Dr Kathryn Johnson writes: “[…] Bowie continued to mine diverse sources of inspiration and later became adept at assimilating them into new and original work of rare variety and depth. Songwriting, for Bowie, became part of a holistic creative process which also involved visual design and resulted in a ‘total’, three-dimensional vision.”
smile
Considering the later concepts of a “fiction suit” (an apparatus of the imagination that enables us to enter a work of art) as coined by Grant Morrison when creating his brilliant “hypersigil” comic series The Invisibles, and writer Alan Moore‘s statements regarding human beings existing as essentially amphibious creatures (“in the etymological sense of ‘two lives’”) inhabiting the commensurate realms of the solid material world and the world of ideas inside our head–one could take Bowie’s “dimensional vision” as consisting of more than merely three, but incorporating four or more dimensions. His art could be appreciated as a landscape composed by and for his various characters and concepts to inhabit and explore themselves poetically and as a terrain of interaction where we the audience can freely explore our own characters and emotions as well. This of course is possible when an artist has a full regard for language and art, symbols, words, and images as being consciousness altering tools–or magic. This is a conviction that Bowie has enthusiastically demonstrated wholly throughout his long career. Likewise, in this formula for communication, his music–the clusters of notes, its timbre and beat, etc.–should be regarded as characters and concepts too as they contain as much information or more than say a choice in wardrobe, prop, or lyric; thus all this are really emotions, attributes, emanations, or sephiroth if you were feeling Kabbalistic. As Bowie says with a compressed sepulchral croon among other disjunctive images and sentiments that knit through 1993’s “You’ve Been Around” from his oh-so-nearly but disorienting variation on new jack swing LP Black Tie White Noise: this is a permeable zone “Where the flesh meets the spirit world/Where the traffic is thin,” and here in this liminal space we can “slip from a vacant view.”
[David Bowie, Los Angeles February 17, 1993, photo by Herb Ritts]

[David Bowie, Los Angeles February 17, 1993, photo by Herb Ritts]

      I find it both impressive (and obviously somewhat bewildering to write about) that this sort of deep engagement with a work seems to be achieved in part through the distance imposed by artifice and performance (what Prof. Shelton Waldrep calls The Phenomenology of Performance in his book The Aesthetics of Self-Invention: Oscar Wilde to David Bowie) (public library) or by presenting an unexpected frame within a frame that the audience must first recognize and be unsettled by in order to make contact with the work.
Frames from Kubrick's 1968 epic science fiction 2001: A Space Odyssey.

[Frames from Kubrick’s 1968 epic science fiction film  2001: A Space Odyssey.]

Think of the meticulous mise-en-scène, framing, cuts, soundtrack, and the actor’s performances in the films of Bronx born and bred director Stanley Kubrick, an obvious and well-known influence on Bowie. With these films the audience is made constantly aware of the technical aspects of “movie-making” by a master of the form and thus forced to confront certain abstractions, and yet somehow his fastidiously orchestrated work is more powerful, more visceral and intimate than the majority of movies that merely rely on pathos’ overwhelming effect on a passive audience. As Kubrick himself once said, “A film is – or should be – more like music than like fiction. It should be a progression of moods and feelings. The theme, what’s behind the emotion, the meaning, all that comes later.” Or more specifically as Kubrick commented on his own brilliant film A Clockwork Orange, “The story functions, of course, on several levels, political, sociological, philosophical and, what’s most important, on a dreamlike psychological-symbolic level.”
[Final scene from Kubrick's 1971 brutal masterpiece, A Clockwork Orange]

[Final scene from Kubrick’s 1971 brutal masterpiece, A Clockwork Orange]

Rather than an immediate emotional identification (which can be developed later organically by the audience’s active fascination, or not), this discipline demands of the audience a critical reaction.
Young Americans A side.tif
Fascination
Take a part of me
Can a heart beat live in a fever, raging inside of me
Fascination takes a part of me, I can’t help it
 
Got to use her, every time, every time, every time, got to use her
Every time
Fascination comes around
“Fascination” by Bowie & Luther Vandross from Young Americans (1975)
As Hugh Iglarsh writes in his review Rescreening Dr. Strangelove, “It is similar to what Bertolt Brecht describes as the alienation effect, forcing the viewer to see characters in terms of what they represent, coloring the subjective perception of objective reality, and creating the psychological conditions for both detachment and enlightened re-engagement.”
George C. Scott's unforgettably manic performance as the boorish Gen. 'Buck' Turgidson Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb

[George C. Scott‘s manic, unforgettable performance as the boorish Gen. ‘Buck’ Turgidson in Kubrick’s brilliant 1964 comedy of frayed nerves, nuclear mutually assured destruction, and sexual frustration, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb]

[the incredibly skilled bassist Gail Ann Dorsey & Bowie in the 1997 video for "Dead Man Walking" directed by the always fascinating artist Floria Sigismondi. The song comes from Bowie's 1997 record of intricate glitch and textured, percussive loops, Earthling , which really deserves another listen by those who haven't in a while

[The incredibly skilled bassist Gail Ann Dorsey & Bowie in the video for “Dead Man Walking” directed by the always fascinating artist Floria Sigismondi. The song comes from Bowie’s 1997 record of abrasive, intricate glitch and textured, percussive loops, Earthling , which really deserves another listen by those who haven’t in a while]

      David Bowie himself has cited this German poet and playwright’s methods as an enormous influence on his creative process and composition.  Particularly, I find his comments in a June 1997 issue of the magazine Guitar Player to be quite illuminating on this subject:
          ….I’m sorry to keep using the word “context”, but it’s a governing principle. Context is almost everything. This is something too pretentious for words, but there’s another attitude that’s very much a part of what I do as a musician and performer. Brecht…[dissolves into laughter].
          Can you believe I said that?
         Bertolt Brecht believed that it was impossible for an actor to express real emotion in a natural form every night. Instead, you portray the emotion symbolically. You don’t try to draw the audience into the emotional content of what you’re doing, but give them something to create their own dialog about what you’re portraying. You play anger or love through stylistic gesture. The voice doesn’t rise and fall and the face doesn’t go through all the gambits you would portray as a naturalistic actor.
          I’ve done that an awful lot throughout my career. A lot of what is perceived as mannered performance or writing is a distancing from the subject matter to allow an audience to have their own association with what I’m writing about. That comes straight from Brecht, who was a major influence on me as a whippersnapper. It applies to any art form. It’s a question of creating a space between your subject matter and yourself as an artist. I sing notes that stand in for emotion. I honestly couldn’t care less about what the subject matter [of the album] is. I need lyrics; I write some lyrics. I guess a lot of subconscious things come through, and that probably says something about me. But it’s almost like lyrics standing in for lyrics: [sings] “Some words go here, and here’s some more words”. That’s enough. It’s almost like when you do an undersketch for a painting. You sketch out what it looks like–a sun here, a house here. That’s fine. The enthusiasm fleshes things out.
      All this creates a multivalence to Bowie’s work. As he describes his own painful jewel of a tune (which likely concerns, Bowie’s experiences with his closest childhood companion, his own schizophrenic half-brother, Terry) “The Bewlay Brothers“:
“[…] there are layers of ghosts within it. It’s a palimpsest, then.”
[From the 1971 Marlene Dietrich inspired Hunky Dory photo sessions with photographer Brian Ward]

[From the 1971 Marlene Dietrich inspired Hunky Dory photo sessions with photographer Brian Ward]

 Bowie’s work is instinctual and empathetic. There are contradictions at work. There are frustrations. Frustration creates narratives. There is a friction. Friction opens possibilities. If nothing else, Bowie’s work is about possibilities.
[One of Jung's numerous illustrations and mandalas for his own The Red Book: Liber Novus; a sort of journal wherein he recounts and comments upon the his imaginative experiences and unconscious visions between 1913 and 1916]

[One of Jung’s numerous illustrations and mandalas for his own The Red Book: Liber Novus (public library); a sort of journal wherein he recounts and comments upon his imaginative experiences, unconscious visions, and encounters with the symbolic language of expression and archetypes between the years 1913 and 1916]

      The founder of analytical psychology (the central concept of which stresses that individuation—or the psychological process of integrating opposites within the psyche—to be the central process of human development) Carl Gustav Jung wrote in 1923: “Since life cannot tolerate a standstill, a damming up of vital energy results, and this would lead to an insupportable condition did not the tension of opposites produce a new, uniting function that transcends them. […] From the activity of the unconscious there now emerges a new content, constellated by thesis and antithesis in equal measure and standing in a compensatory relation to both. It thus forms the middle ground on which the opposites can be united. […] The standstill is overcome and life can flow on with renewed power towards new goals.” This process is of course facilitated by active imagination, which results in the creation of a living symbol of some sort that assimilates and embodies the once adverse forces in the psyche.
He trod on sacred ground, he cried loud into the crowd I'm a blackstar, I'm a blackstar. Another illustration by Carl Gustav Jung for The Red Book: Liber Novus.

[He trod on sacred ground, he cried loud into the crowd I’m a blackstar, I’m a blackstar. Another illustration by Carl Gustav Jung for The Red Book: Liber Novus.]

In her fantastic essay “Crashing Out with Sylvian: David Bowie, Carl Jung and the Unconscious”  Tanja Stark writes:
“A prolific writer, Jung’s theories are complex but at their core was an understanding of life as an ongoing process of Individuation, a psychological journey of emergence, transformation and centered integration of the psyche within a holistic Self through conscious awareness, engagement and balance with the energies of the Personal and Collective Unconscious. Jung held that subliminal essences and universal energies profoundly influenced the lives of individuals and societies and believed the recurring mythopoeic symbolism, imagery and narratives found across cultures in art, myth and religion drew from the powerful energies of this Collective Unconscious. Manifesting in ways such as dreams, visions, art, intuitions, spiritual experience and synchronicities, active attention to these expressions could provide pathways to greater integration and wholeness. In contrast, unhealthy repression, denial or unbalanced inflation of unconscious energies could result in pathology, illness, psychosis and psychological disintegration.”
leroijones
      This repression and denial is what LeRoi Jones (aka Amiri Baraka) depicts as one of the worst sins in his 1965 novel The System of Dante’s Hell (public library). In the brief notes that open this book, Jones attempts to define his concept of a heretic (or Heathen, as Bowie titled his brilliant album of 2002):
[Heathen album artwork designed by Bowie's long-time graphic design collaborator Jonathan Barnbrook]

[Heathen album artwork designed by Bowie’s long-time graphic design collaborator Jonathan Barnbrook]

I put The Heretics in the deepest part of hell, though Dante had
them spared, on higher ground .
It is heresy, against one’s own sources, running in terror, from
one’s deepest responses and insights . . . the denial of feeling . . .
that I see as basest evil .
We are not talking merely about beliefs, which are later, after the
fact of feeling. A flower, turning from moisture and sun would
turn evil colors and die.
[Heathen interior art by Jonathan Barnbrook; based on the 1611 painting Massacre of the Innocents by Italian Baroque painter Guido Reni]

[Heathen interior art by Jonathan Barnbrook; based on the 1611 painting Massacre of the Innocents by Italian Baroque painter Guido Reni]

The contradictions and facades inherent in Bowie’s work could and should be considered as an active attention to his expression, in pursuit of his “own sources,” or a truth of feeling.
[Photo by Markus Klinko for GQ Men of the Year, 2002]

[Photo by Markus Klinko for GQ Men of the Year, 2002]

As Bowie said in a 2002 interview:
 
“Heathenism is a state of mind. You can take it that I’m referring to one who does not see his world. He has no mental light. He destroys almost unwittingly. He cannot feel any God’s presence in his life. He is the 21st century man.”
brainpickings
      In a post for her stunning and always stirring blog Brain Pickings (with its stated intention being to aid us to “tap into our mental pool of resources”), Maria Popova writes: “Creativity is a combinatorial force — it rests on our ability to fuse, usually unconsciously, existing concepts, memories, bits of information, pieces of knowledge, and fragmentary impression into novel ideas that we call our own. A mind of exceptional creativity, then, is a mind brimming with vibrantly diverse bits that can be fused together into a boundless array of possible combinations.” Popova also depicts the creative process as a “dancing in a delicate osmosis of conscious and unconscious work.”
[Beautiful detail of an illustration by the legendary Steve Ditko for his creation Doctor Strange, published by Marvel Comics in STRANGE TALES #138 (Nov. 1965)]

[Beautiful detail of an illustration by the legendary Steve Ditko for his creation Doctor Strange, published by Marvel Comics in STRANGE TALES #138 (Nov. 1965)]

David Bowie in designer Kansai Yamamoto’s “Rites of Spring” costume (photo by Terry O'Neill, Ziggy Stardust UK tour, 1973)

David Bowie in designer Kansai Yamamoto’s “Rites of Spring” costume (photo by Masayoshi Sukita, Ziggy Stardust UK tour, 1973)

I understand how a consumerist public might either be absolutely allured or totally disinterested by a self-aware art that at times could present itself boldly with the warm plane of a four color sci-fi comic book–as the year or two of the Ziggy Stardust project and much of glam rock did–as Warhol’s Death And Disaster series of silk screens do.
[Andy Warhol, Orange Car Crash, 1963]

Andy Warhol looks a scream / Hang him on my wall / Andy Warhol, Silver Screen / Can’t tell them apart at all. [Andy Warhol, Orange Car Crash, 1963]

[Edward Kinsella Illustration of French writer and provocateur Jean Genet for The New Yorker, 2014]

[Edward Kinsella illustration of French writer and provocateur Jean Genet for The New Yorker, 2014]

[Bowie with Cyrinda Foxe, Beverly Hills, 1972, photo by Mick Rock]

[Bowie with Cyrinda Foxe, Beverly Hills, 1972, photo by Mick Rock]

Bowie certainly had an ear towards the American jukebox when composing the rattlesnake muscle and sinew set to dance to a genuine american primitive rhythm & blues that is the November 24 1972 single “Jean Genie,” and likewise when creating the cherry-popping, lip-smacking, subordinate to the beat, Elvis-with-a-vulva swagger that is the February 15 1974 single “Rebel Rebel.” (funnily enough this track can be taken as a rockin’ oldie playing on some antique jukebox in the glitter & doom dystopia Hunger City, where his album Diamond Dogs is set).
[Contact sheet for the late 1973 photo session later used for the February 1974 release of the single "Rebel Rebel"

[Contact sheet for the August 1973 Pin Ups photo session by Mick Rock later used for the February 1974 release of the single “Rebel Rebel”]

[Mick Rock served as David Bowie's official photographer from 1972 to 1973]

[Mick Rock served as David Bowie’s official photographer from 1972 to 1973]

It does seem that for much of the early 70s Bowie was consciously attempting to create music that would “move like tigers on vaseline” (as he sings in 1972’s “Hang On to Yourself.”) He was attempting to make art that captured and released the desiderata of a depressed generation, all the while with face painted in kabuki mimicry that suggests an extraterrestrial alpenglow.

 

[Applying his Ziggy Stardust makeup in May 1973]

[Applying his Ziggy Stardust makeup in May 1973]

I watch the ripples change their size
But never leave the stream
Of warm impermanence and
So the days float through my eyes
But the days still seem the same
And these children that you spit on
As they try to change their worlds
Are immune to your consultations
They’re quite aware of what they’re going through
“Changes” – David Bowie (1971)
[Elvis I & II by Andy Warhol, 1963. The original images images of Elvis were taken from a publicity still for the 1960 movie Flaming Star. Based on the 1958 book Flaming Lance by Clair Huffaker, the western film had an original working title of Black Star.

[Elvis I & II by Andy Warhol, 1963. The original images of Elvis were taken from a publicity still for the 1960 movie Flaming Star. Based on the 1958 book Flaming Lance by Clair Huffaker, the western film had an original working title of Black Star and an accompanying Elvis song with the lyrics : Every man has a Black Star / A Black Star over his shoulder / There’s a lot of livin’ I gotta do / Give me time to make a few dreams come true, Black Star]

In the fascinating 1989 work by brilliant cultural critic Greil MarcusLipstick Traces: A Secret History of the 20th Century (public library)–he states that from within the suppressed desires, frustration, and malaise coupled with the economic boom that all ensued with the close of the Second World War, “Pop Culture” was born in the year 1948. If that is true, it should be noted that Bowie née David Robert Jones was born in Brixton, south London on January 8th 1947 (exactly 12 years to the day after the birth of Elvis Aaron Presley in Tupelo, Mississippi). It is indisputable that there were profound cultural shifts occurring during Bowie’s youth. There was for example the emergence of the figures of Marlon Brando, Elvis Presley, and James Dean; or what “Beat Generation” writer Jack Kerouac characterized as America’s New Trinity of Love, writing in 1957 (the year On the Road was published) (and read here by the comedian Richard Lewis):

“Love is sweeping the country.

“While wars and riots rage all around the world, in a vortex that resembles the dying Dinosaur Age of Violence, here within her sweeter shores America is producing a Revolution of Love. Three young men of exceptional masculine beauty and compassion and sadness have been upraised by its reaching hands.
[…]
“The Garden of Eden might come back in its pristine form. The old American Hero fought the Devil; the new American Hero knows that the Devil never existed except in the minds of anxiety. There will be no more tempting of the woman by the Devil and no banishment from the paradise on earth.
[…]
“There is the need all around to be recognized and adored by some other human being, the need all around for kindness, for the ideal of love which does not exclude cruelty but is all-embracing, non-assertive, simply lovely. Not necessarily the Dionysion orgy but the tender communion.”
[…]
Kerouac here does accept the dark entangled in this adoration, but then twists its shape to flood it with light and align it with the more mystic facets of mankind:

“As always when something new grows out of the groaning earth, this earth which is a recent event in the cosmic eternity of light, there are angry complaints raised from all stations. The dryer intellectuals complain that the adulation of the dead James Dean by thousands of American girls represents a kind of unhealthy necrophilia; they point out the fact that 1,000 fan letters a month are still being written to Dean as tho he were still alive, asking for his pictures and asking him to come back because they love him. “Even if you look bad and you’re all cut up from your car-crash, come back anyway.” Yet if Saint Teresa can make us the holy promise that she will come back and shower the earth with roses forever, this belief in the immortal lovingness of James Dean by thousands of eager believing chicks is well-rooted in a reverential mystical tradition that has certainly never harmed the sleeping babe in his crib. It augurs well for the world that it will refuse to believe that in death endeth loveliness, or endeth enlightenment.”

[Tupelo, Mississippi - Sep. 26, 1956, photo by Marshutz Stanley]

[Tupelo, Mississippi – Sep. 26, 1956, photo by Marshutz Stanley]

Or, as Lester Bangs put it twenty years later in his essay for the August 29, 1977 edition of The Village Voice, Where Were You When Elvis Died? (How Long Will We Care?) (and Robert Johnson, too):

“[Elvis] was the only male performer I have ever seen to whom I responded sexually; it wasn’t real arousal, rather an erection of the heart, when I looked at him I went mad with desire and envy and worship and self-projection. I mean, Mick Jagger, whom I saw as far back as 1964 and twice in ’65, never even came close.
[…]
Elvis Presley was the man who brought overt blatant vulgar sexual frenzy to the popular arts in America (and thereby to the nation itself, since putting “popular arts” and “America” in the same sentence seems almost redundant). It has been said that he was the first white to sing like a black person, which is untrue in terms of hard facts but totally true in terms of cultural impact. But what’s more crucial is that when Elvis started wiggling his hips and Ed Sullivan refused to show it, the entire country went into a paroxysm of sexual frustration leading to abiding discontent which culminated in the explosion of psychedelic-militant folklore which was the sixties.
I