Posts Tagged ‘Bauhaus’

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Heavy Rotation 47: It’s All Coming Together Now Edition

June 6, 2010

Another week, another selection of varied tunes for your perusal. Except this week. Well, there are tunes, but they’re all up in each other’s bidness, as you’ll have bludgeoned into your head with this extremely wordy issue of Heavy Rotation. Many thanks in advance for those who wade right in.

If you’ve still got time to spare, take a look at these:

http://thisstuffisfree.wordpress.com/2010/06/04/free-magic-tricks/

http://hyperboleandahalf.blogspot.com/2010/05/sneaky-hate-spiral.html

http://hiddenleaves.wordpress.com/2010/06/06/shit-laertes-says/

Earlier, more varied and economical editions available here:
The Heavy Rotation Archives

….

Bauhaus – Rose Garden Funeral of Sores (Live).mp3
Pixies – Hey.mp3

First up: Goth pioneers Bauhaus drop their art-damaged punk all over John Cale’s dark musings on Jesus’ Marys: the virgin mother and the attentive prostitute. From the street hassle of being a virgin mother:

Virgin Mary was tired
So tired
Tired of listening to gossip
Gossip and complaints
They came from next door

to the epicenter of the pointless, projecting gossip:

And a bewildered stream of chatter
From all sorts of
All sorts of
Untidy whores
Came from next door

The song tracks the petty travails of being a legend in your own time, a position made less envious by being linked inextricably by the savior of the world, a man of impossible standards and unconditional love.

Peter Murphy struts, vamps and screams, playing off the lyrical surges while his bandmates chime in with hoarse, whorish shouts, channeling the tormented/tormenting taunts of “screaming whores” with guttural barks of “UH!”.

But their choice don’t seem to matter
They got swollen breasts and lips that putter
And their choice of matter and their scream of chatter
Is just a little parasitic scream of whores
Screaming whores
In the rosegarden funeral of sores

And now the Pixies…

From the most Biblically obsessed of their albums (1989’s Doolittle) comes this perverted love/lust song, filled with contaminated yearning and cursed fatalism. Riding a bassline they wouldn’t top until later that album (I Bleed), Black Francis unleashes his naked desire only to find it anchored to the dead weight of a self-destructive relationship:

Hey!
Been trying to meet you
Mmm…
Hey!
Must be a devil between us
Or whores in my head
Whores at the door
Whore in my bed

But hey!
Where
Have you
Been?

If you go, I will surely die.

We’re chained…
We’re chained…
We’re chained…
Chained…

As the track heats up, Black Francis obliquely quotes “Rose Garden’s” screaming whores:

‘UH!’,
Said the man to the lady
Mmm…

‘UH!’,
Said the lady to the man she adored
And the whores like a choir go ‘UH!’ all night
And Mary, ain’t you tired of this?
‘UH!’
Is
The
Sound
That the mother makes when the baby breaks!

[I’ve been listening to these two tracks for the better part of 15 years and never saw the connection until just last week. Go figure.]

Bauhaus – Rose Garden Funeral of Sores (Live)

Pixies – Hey

Pixies – Hang Onto Your Ego.mp3
Public Image Limited – Public Image.mp3

The Pixies cover a Brian Wilson track that got deep-sixed by Mike Love for being too cynical and “out there” for the average boomer, taking an angular, guitar-heavy run through the greatest Beach Boys track never to hit the airwaves. (What if it had? It might have changed the face of “classic rock” completely. I think it would have hit Jimmy Buffett’s pocketbook the hardest…)

As the band warms up for the run, Black Francis fires off “Hullo, hullo, hullo…” quoting the opening of P.I.L.’s opening salvo Public Image, another deconstruction of rock ego and myth-making. Why this appropriation? Perhaps to indicate that Hang Onto Your Ego could have been a generational kiss off to a generation of undemanding Beach Boy fans.

I know so many people
Who think they can do it alone
They isolate their heads
And stay in the safety zone

But what can you tell them?
What can you say that won’t make them defensive?

So…
Hang on to your ego
Hang on, but I know that you’re gonna lose the fight

They come on like they’re peaceful
But inside they’re so uptight
They trip through the day
And waste all their thoughts at night

But how can I say it?
How can I come on when I know I’m guilty?

Speaking of which, John Lydon (the former Johnny Rotten) sends the Sex Pistols’ fans running for the shelter of their now “status quo” punk bands with the debut single from his new project, Public Image Ltd. His last words as Rotten were, “Ever get the feeling you’ve been cheated?”

Cheated by your manager. Cheated by your label. Cheated by your smack-addled murderer of a bass player. Cheated by the revolution that never was. Cheated by fans who wanted nothing more than a soundtrack for drunked, drugged-up mosh pits.

Lydon flips the script, announcing punk is over with a bruising bassline thundering over some exploratory soundcheck/reality check “hullos.” A farewell to Rotten/Sex Pistols/McLaren/Punk “Scene.” If his fans couldn’t be bothered to bootstrap a musical revolution, he’d just have to do it himself.

You never listen to a word that I said
You’ve only seen me
For the clothes that I wear
Or did the interest go so much deeper
It must have been
The colour of my hair

Public Image

What you wanted was never made clear
Behind the image was ignorance and fear
You hide behind this public machine
Still follow same old scheme

Public Image

Public image you got what you wanted
The Public image belongs to me
It’s my entrance
My own creation
My grand finale
My goodbye

[Yet another connection made only recently, although, to be fair, the Rough Diamonds compilation which contains this Pixies track is only a few years old… Still…]

Pixies – Hang Onto Your Ego

Public Image Ltd. – Public Image

Pixies – Ride the Tiger (Demo Version).mp3
Pixies – Ride the Tiger (Album Version).mp3

Since we’re already in a Pixies mood, let’s take two looks at the same track and the difference a great producer makes.

Let’s go ahead and clear the air: Steve Albini is an asshole. But he’s an uber-talented asshole who doesn’t glorify his own position. As is the case with most albums he’s produced, Albini credits himself with nothing more glamorous than “recording.” He knows what he’s looking for and he doesn’t fuck around.

There are plenty of anecdotes out there dealing with his “hands off” production technique. During the 1988 Surfer Rosa sessions, the most famous Albini-ism was his direction, which consisted of declaring things to be either “pussy” (in need of improvement) or “not pussy” (good to go).

So, listen closely to the two versions.

The demo version (taken from the Rough Diamonds compilation) runs nearly a minute longer. There’s a bit more space between the verses, giving Joey Santiago a chance to run through about a half-dozen ideas, casting liberal (for the Pixies) amounts of guitar squall/skronk here and there much like he did in “Vamos.”

The chorus and bridges linger for a bit too long, but that could just be 20+ years of hindsight speaking. All in all, a little unfocused but still a track that thousands of bands would kill to have in their catalogue, perfectly demonstrating the Pixies’ flawless command of the quiet/loud dynamic.

Now listen to the album version.

It is tight. Economical. No wasted effort anywhere. Santiago’s guitar scribblings are limited to propelling the song thru some lingering notes and restrained strumming. Pay special attention to the bridge between the first chorus and second verse, when he pulls the listener along on a thin strand of sustained feedback, using a couple of held notes to tie it all together and letting the rhythm section (and Kim’s backing vocals) do all the heavy lifting.

And Lovering’s drums. Those are definitely “not pussy.” It makes the drumming on the demo version seem so… serviceable. Of course, this may be nothing more than better miking and mastering, but that’s why a great producer is worth the $$$.

Of course, the song itself rocks hard, alternating between melodic and stormy, riding a metaphor from the Gaza Strip to the Cradle of Civilization.

Pixies – Ride the Tiger (Demo Version)

Pixies – Ride the Tiger (Album Version)

-CLT

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Fancy Plans… Guide to Rock and Roll Vol. 5 (Nothing Exceeds Like Excess)

June 11, 2009

As long as the horse remains dead, we at Fancy Plans… will continue to beat it. If, at any point, the horse is revived, we will swiftly re-kill it and commence beating it immediately. So without further ado, the latest installment of the apparently neverending Fancy Plans… Guide to Rock and Roll.

Previous versions can be found here:
The Original
Vol. 2
Vol. 3
Vol. 4

Early version of Alice in Chains, featuring Sinead O'Connor

Early version of Alice in Chains, featuring Woody Harrelson

Alice in Chains
Also-rans during the Pacific Northwest’s “me-too” onslaught, Alice in Chains funneled Layne Staley’s love for all things Led Zeppelin and/or heroin-related into a monotonous blend of po’-faced confessions and overweight riffage.

Staley’s introspective lyrics dealt with his own personal demons: horse, smack and heroin. The band’s song titles tended to reflect that. Some choice selections are:

  • Me and Julio Shooting Up Down by the Schoolyard
  • Man in a Heart-Shaped Box
  • Rainy Day Junkies #12 and #35
  • Tourniquet of Smackhound’s Desire
  • Brother, Can You Spare a Bindle?
  • Smack’s a Good Man, Brother
  • Train in Vein
  • God Help Me, I Loves Me Some Horse
  • My Apologies for Throwing Up in Your Closet
Bryan Ferry poses with members of Grand Funk Railroad and a balding elf

Bryan Ferry poses with members of Grand Funk Railroad and a balding elf

Roxy Music
The brainchild of Bryan Ferry, the man who would be lounge king, Roxy Music was always classing up the joint with their avant-garde music, artful crooning, wicked smart lyrics and nekkid women album covers.

Their breakthrough came in 1982 with Avalon, Ferry’s tribute to the world’s foremost purveyor of strategic board games. In fact, the band’s love of Axis & Allies frequently found them engaged in marathon sessions, which would often force them to hit the stage late and still dressed in Nazi garb. Onstage banter often contained cryptic quotes, such as “Eno, you fool. You played right into my hands,” and “Berlin will never fall!” The refusal of Ferry to recognize British air superiority was the main factor in Eno’s decision to leave the band.

Bryan Ferry soldiered on with Roxy Music and a fairly prolific solo career, continually thrusting his success into the faces of his former classmates, who teased him mercilessly about his last name. Each album cover was successively nuder, as if to point out the massive amount of trim Ferry was getting, despite his last name, “pansy ass” singing and “gay” wardrobe.

One of the many Aphex Twin side projects: The Illegitimate Offspring of Richard D. James

One of the many Aphex Twin side projects: The Illegitimate Offspring of Richard D. James

Aphex Twin
One can hardly begin to discuss the extremely prolific output of expert knob-twiddler Richard D. James (aka Aphex Twin) without recounting some of his alter egos and side projects: AFX, Caustic Window, Richard “Humpty” Vission, Sine Wave, Men Without Hats, Mike and Rich, White Cell Count, Didgeridoo, Gak, Polygon Window, The Most Exalted Potentate of Love, Philip Glass, Calx, Unlistenable Twaddle, Narwhal Extractor, walloFsoUnd, Power Pill, Alice Deejay, Dixie-Narco, Q-Chastic, Richard D. James: Medicine Woman, I Makes Me Own Instruments, Harold & Kumar Go to Cornwall, etc. Which scarcely leaves time to discuss anything else.

Works like Ipecac

Works like Ipecac

Blind Melon
Less a band than major label backwash from the mid-90’s “alt.rock” signing sprees, (“Hell, we signed Toad the Wet Sprocket and Better Than Ezra! Why the fuck not!”) Blind Melon swiftly hoisted their own petard with a jangly single and an omnipresent video featuring what appears to be a Special Olympics costume contest.

Lead “singer” Shannon Hoon milked his “tortured hippie” schtick until his career came to a sudden halt due to the untimely cocaine overdose of the “Bee Girl.” With Blind Melon rudderless (and talentless), the remaining members filed for Chapter 11 cultural bankruptcy, opening a primo “alternative” slot which the major labels swiftly filled with Blowfish.

Bryan Adams attempts to "one-up" Richard Gere

Bryan Adams attempts to "one-up" Richard Gere

Bryan Adams
Born in the summer of ’69 in Anytown, USA during a 4th of July parade, at the corner of Main Street and Cliche, Bryan Adams grew up to be a platinum-selling artist despite no one ever admitting to being a fan of his.

As he tirelessly strives to out-bland late-model Bon Jovi and the Goo Goo Dolls, Adams may face his biggest challenge in Aerosmith’s soundtrack-ready power balladry.

Bryan Adams: the anti-Velvet Underground: despite record sales in the millions has never inspired anyone, anywhere to start a band.

The band success allowed them to finance the Bauhaus School of Relentless Affectation

The band's success allowed them to finance the Bauhaus School of Relentless Affectation

Bauhaus
Of all the art school rejects who have started bands, Bauhaus was by far the artiest. (Unless you count the Artful Dodger, purveyor of British 2-step. We won’t because 2-step is a combination of R&B and drum n’ bass, two awful tastes that taste awful together.)

Known everywhere as “the only goth band ever,” Bauhaus trafficked in dark lyrics and minor chords. Their lead singer, Peter Murphy, possessed the most overwrought and over-enunciated English accent to ever grace vinyl, a title he held until a young Al Jourgensen put Chicago on the map with his New Romantic synthpop group, Ministry.

So arty were they, in fact, that Peter Murphy dissolved the group simply because the band name wasn’t “arty” enough, forming Dali’s Car with Mick Karn in 1984. The other members of the band went their separate ways, taking on various odd jobs such as Lead Singer in Tones on Tail (Daniel Ash), Interchangeable Member of the Jazz Butcher (David J) and Drummer in Tones on Tail (Kevin Haskins).

The other 3, as I will affectionately call them right now, went on to form Love & Rockets, the greatest psychedelic pop band to ever boldy snatch their name from a published work without having to append a “UK” to their U.S. releases. (See also: Chameleons UK, Charlatans UK, Chemical Brothers UK (Dust Brothers US), Carter USM UK, British Sea Power UK.)

The key elements of the Cocteau Twins - Fraser's ethereal, dreamlike vocals; unfortunate hairdos

The key elements of the Cocteau Twins - Fraser's ethereal, dreamlike vocals; unfortunate hairdos

Cocteau Twins
Another 4AD band, following This Mortal Coil’s blueprint for medium success. The Twins hew closely to the atmospheric dreampop of their labelmates, but have created a distinctly unique sound of their own, perhaps mainly due to Elizabeth Fraser’s vocals.

Critics have found it hard to describe their sound accurately. “Ethereal” gets tossed around. A lot. “Dreamlike” gets trotted out. But to truly pinpoint this band’s sound, one would have to create entirely new metaphors and comparisons, like:

  • “What gauzy purple sounds like…”
  • “Like Nick Lowe, only female and balding…”
  • “Like Kate Bush fronting Chapterhouse, with the guitars set to ‘pillow.'”
  • “Like This Mortal Coil, only less coiled and more mortal. With a chick sort of singing…”

Note to fans keeping score at home: the Cocteau Twins are not actually twins, like the Thompsons, Aphexes and Toxics.

-CLT