jarvis cocker – sheffield sex city (lyrics)

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Sea Point Main Road, 7 January 2013. Photograph: Rosemary Lombard

the city is a woman, bigger than any other…

…the sun rose from behind the gasometers at six-thirty a.m.
crept through the gap in your curtains
and caressed your bare feet poking from beneath the floral sheets.
i watched it flaking bits of varnish from your nails
trying to work its way up under the sheets.
even the sun’s on heat today;
the whole city getting stiff in the building heat.

now i’m trying hard to meet her but the fares went up at seven
she is somewhere in the city, somewhere watching television
watching people being stupid, doing things she can’t believe in
love won’t last ’til next installment
ten o’ clock on tuesday evening
the world is going on outside, the night is gaping open wide
the wardrobe and the chest of drawers are telling her to go outdoors
he should have been here by this time, he said that he’d be here by nine
that guy is such a prick sometimes, i don’t know why you bother, really.

oh babe oh i’m sorry
but i had to make love to every crack in the pavement and the shop doorways
and the puddles of rain that reflected your face in my eyes.
the day didn’t go too well.
too many chocolates and cigarettes.
i kept thinking of you and almost walking into lamp-posts.
why’s it so hot?
the air coming up to boil; rubbing up against walls and lamp-posts trying to get rid of it.
old women clack their tongues in the shade of crumbling concrete bus shelters.
dogs doing it in central reservations and causing multiple pile-ups in the centre of town.
i didn’t want to come here in the first place
but i’ve been sentenced to three years in the housing benefit waiting room.
i must have lost your number in the all-night garage
and now i’m wandering up and down your street, calling your name, in the rain
whilst my shoes turn to sodden cardboard.
where are you? (where are you?)
where are you? (where are you?)

i’m still trying hard to meet you, but it doesn’t look like happening
‘cos the city’s out to get me if i won’t sleep with her this evening
though her buildings are impressive and her cul-de-sacs amazing
she’s had too many lovers and i know you’re out there waiting
and now she’s getting into bed; he’s had his chance now it’s too late
the carpet’s screaming for her soul, the darkness wants to eat her whole
tonight must be the night it ends
tomorrow she will call her friends and go out on her own somewhere
who needs this shit anyway?
and listen, i wandered the streets the whole night crying, trying to pick up your scent
writing messages on walls and the puddles of rain reflected your face in my eyes.
we finally made it on a hill-top at four a.m.
the whole city is your jewellery-box; a million twinkling yellow street lights.
reach out and take what you want; you can have it all.
gee it’s so hot tonight!
i didn’t think we were gonna make it.
it was so bad during the day, but now i’m snug
and warm under an eiderdown sky.
all the things we saw:
everyone on park hill came in unison at four-thirteen a.m.
and the whole block fell down.
the tobacconist caught fire, and everyone in the street died of lung cancer.

tindersticks – city sickness (1993)

“Our first film. This Way Up had money to make a video, we wanted to make something more like a film. We were told about Jarvis and Steve from Pulp, who were making films with Martin Wallace. We made it during the summer of ’93. Dickon’s not in it because he was in Mexico as part of his studies. It was good fun and hard work, driving around in our Ford Cortina, Jarvis squashed on the passenger seat floor. Sidonie, Stuart’s daughter, is the baby. It was the start of a long and joyful relationship with Martin Wallace, who’s become a wonderful friend.”

for the birds

i really don’t get it,
never have.
hard rock/metal in general, i mean.
too much sweaty hair thrashing around,
too many notes overcrowding each bar,
too many gratuitous tempo changes,
the voice (always male) too yowly or growly,
the lyrics, ridiculous.
i can dig the more spacey prog stuff from the ’70s, king crimson for example, or the o.t.t. weirdness of frank zappa, but the testosserterrain of deep purple/motorhead/budgie etc etc… i just don’t get it.

it reminds me of all the wankers i tried to sing or play guitar with at school.
i could never find anyone who wanted to do anything interesting.
all they did was spank away over and over for hours and hours at the same led zeppelin or sabbath or metallica riffs,
show off their paradiddle-diddle-diddle drumming,
their kakky renditions of les claypool slap bass,
drink black label quarts, smoke dagga, crow about forcing themselves on girls.

iron_maiden_bring_your_daughter_to_the_slaughter

here’s a memory from when i was about 15 or 16… i’m at a house party in kloof, drunk and very bored, after one such disappointing “jam”. the drummer, julian (still remember his stinking name), with long fluffy hair and a straggly beard and juicy zits who’s maybe a bit older than the rest of us, starts kissing me and i’m kinda flattered but not feeling anything at all. so i crawl off a bit later when he’s getting another beer to go sleep in someone’s bedroom plastered with creepy iron maiden posters.

he comes to find me and i wake to his entire weight bearing down on me, smothered in salty, smoky hair and he’s forcing his hands into my panties and shoving his filthy callused stompie fingers in my virginity and his penis is grinding into my thigh and i can’t move or breathe. i’m choking. i bite at his furry beer tongue and he swears at me and slaps me, calls me a cocktease, and then he’s gone. mercifully. i need to vomit and wash myself but i daren’t go to the bathroom. i’m scared that he’ll come back. i’m lying there groggy and rigid with the reek of him on me, his plaque in my mouth, with that eddie creature leering down at me from the moonlit posters, with the drone of mosquitoes and the signature riffs of the morning birds over and over for hours and hours – bulbul, white-eye, hadeda, bulbul, white-eye, hadeda, bulbul, hadeda… somewhere a cock is crowing and finally i can get out of there.

coda: my younger sister got seduced by the whole scene and ended up pregnant at 16 by one of these fret-tapping frauds that she’d called her boyfriend for about 2 years. a few months after the baby came, he slunk off with the chick he’d been cheating on her with.

so yeah. i don’t enjoy hard rock/metal’s machismo-drenched doodling.
i find it the aural equivalent of being fucked badly.
there’s not a smidgen of feminine awareness in its puffed-up rooster strut.

september 15, 2008

clara rockmore – pastorale (anis fuleihan)

From Clara Rockmore’s Lost Theremin Album (1975)

Anis Fuleihan (April 2, 1900 – October 11, 1970) was a Cypriot-born American composer, conductor and pianist. Fuleihan’s music generally avoided serial structures, and was heavily influenced by Middle Eastern folk music. One of his works is a concerto for theremin, premiered by the New York Philharmonic under Leopold Stokowski in 1945; the soloist was Clara Rockmore.

Images: Alphonse Mucha

dark – round the edges – 1972 (full album)

If this album had no vocals, it would be an almost perfect psychedelic rock trip. I enjoy it most when I manage to ignore the uninspired blandness of the singer (he only opens his mouth here and there to spout triteness, luckily). The best way I have found to do this is put it on loud and leave the room (so the vocals become less distinct), let it fill the house, and get on with the cleaning, which is what I’m doing now…

another fleurmach marching tune for 2013!

Recorded in 1965 by Peggy Lee, I love this version of “Pass Me By”, a Cy Coleman song originally from the 1964 film, Father Goose.

I got me ten fine toes to wiggle in the sand,
Lots of idle fingers snap to my command,
A lovely pair of heels that kick to beat the band,
Contemplating nature can be fascinating,
Add to these a nose that I can thumb,
And a mouth by gum have I,
To tell the whole darn world,
“If you don’t happen to like it, deal me out,
Thank you kindly, pass me by.”

lucille ball and paula stewart – hey, look me over

Marching orders from Fleurmach! Here’s to 2013 kicking 2012’s sorry ass!

Lucille Ball and Paula Stewart as Wildy and Janey Jackson, live on the Ed Sullivan Show (1961), performing “Hey, Look Me Over” from the Broadway musical, Wildcat. These feisty dames are Thelma and Louise’s crazy aunts.

Hey look me over, lend me an ear,
Fresh out of clover, morgaged up to here,
Don’t pass the plate folks,
Don’t pass the cup,
I figure whenever you’re down and out,
The only way is up…
And I’ll be up like a rose bud,
High on the vine,
Don’t thumb your nose folks,
Take a tip from mine,
I’m a little bit short of elbow room,
But let me get me some,
And look out world, here I come!

“one ventures from home on the thread of a tune”

A child in the dark, gripped with fear, comforts himself by singing under his breath. He walks and halts to his song. Lost, he takes shelter, or orients himself with his little song as best he can. The song is like a rough sketch of a calming and stabilizing, calm and stable, center in the heart of chaos. Perhaps the child skips as he sings, hastens or slows his pace. But the song itself is already a skip: it jumps from chaos to the beginnings of order in chaos and is in danger of breaking apart at any moment. There is always sonority in Ariadne’s thread. Or the song of Orpheus. … One launches forth, hazards an improvisation. But to improvise is to join with the World, or meld with it. One ventures from home on the thread of a tune.

~ Deleuze & Guattari, in “1837: Of the Refrain”, from A Thousand Plateaus. Capitalism and Schizophrenia. London: Continuum, 1987. pp. 343-4

the raincoats – adventures close to home (1979)

Passion that shouts
Red with anger
I lost myself
Through alleys of mysteries
I went up and down
like a demented train

Don’t take it personal
I choose my own fate
I follow love
I follow hate

Searching for something
that makes hearts move
I found myself
But my best possession
walked into the shade
and threatened to drift away

Don’t take it personal
I choose my own fate
I follow love
I follow hate

For all of myself
I left you behind as if I could
possessed by Quixote’s dream
Went to fight dragons in the land of concrete

Don’t take it personal
I choose my own fate
I follow love
I follow hate

Rolling in pain
discovered what hurts
and tasted hell
infatuated by madness
I danced in flames
and drank in the depth of love

wendell berry – to know the dark

To Know the Dark – Wendell Berry

To go in the dark with a light is to know the light.
To know the dark, go dark. Go without sight,
and find that the dark, too, blooms and sings,
and is traveled by dark feet and dark wings.

the moscow coup attempt – sprout and the bean

Cover of Joanna Newsom’s song “Sprout and the Bean”, with vocals by Vera Ostrova — sans the shrillness of the original and with a beautiful video — off a 2010 compilation album called Versions of Joanna.

“And as I said, I slept as though dead, dreaming seamless dreams of lead.
When you go away, I am big-boned and fey in the dust of the day, in the dirt of the day.”

garfunkel and oates – 29/31 (2012)

Garfunkel and Oates are an American comedy/musical duo from Los Angeles, California, consisting of actress-songwriters Kate Micucci and Riki Lindhome. The band name is derived from “two famous rock-and-roll second bananas”, Art Garfunkel and John Oates. In this song, Kate and Riki play the same woman, two years apart, at 29 and 31 respectively.

ruth etting – i’m nobody’s baby (1927)

Rising to fame in the twenties and early thirties, Ruth Etting was renowned for her great beauty, her gorgeous voice and her tragic life. She starred on Broadway, made movies in Hollywood, married a mobster, had numerous hit-records, and was known as America’s Sweetheart of Song.

Born in David City, Nebraska on November 23, 1897, Ruth left home at seventeen for Chicago and art school. She got a job designing costumes at a night club called the Marigold Gardens and when the tenor got sick, she was pulled into the show since she was the only one who could sing low enough. That led to dancing in the chorus line and eventually featured solos.

By 1918 she was the featured vocalist at the club and the Gimp entered her life. A Chicago gangster, Moe Snyder married Ruth in 1922 and managed her career for the next two decades. Her numerous radio appearances during these years led to her becoming known as Chicago’s Sweetheart.

In 1926 she was discovered by a record company executive and immediately signed to an exclusive recording deal with Columbia Records, which led to nationwide exposure. Her early recordings were very straightforward in delivery. She later commented that “I sounded like a little girl on those records!” and insisted that her voice was actually much deeper than these recordings would lead one to believe.

In 1927 Ruth hit New York and she was an instant success. Irving Berlin suggested her for the Ziegfeld Follies and she was hired after Ziegfeld checked her ankles, not her voice. She appeared in the Follies of 1927. In 1929 she starred with Eddie Cantor in Whoopee! and in 1930 she made 135 appearances in Simple Simon with Ed Wynn. In 1931 she appeared in the very last Follies, shortly before Ziegfeld’s death.

Her blond hair and blue eyes and stunning voice all led to her being dubbed the Sweetheart of Columbia Records, America’s Radio Sweetheart, and finally America’s Sweetheart of Song. She began to experiment with tempo and phrasing during this period in her career. Her trademark was to change the tempo – alternating between normal tempo, half-time and double-time to create and maintain interest.

Ruth had over sixty hit recordings. Among her best in the Jazz Age are “Button Up Your Overcoat” and “Mean to Me” and, in the depression, “Ten Cents A Dance”. Her versions of “Shine on Harvest Moon”, “Let Me Call You Sweetheart”, “You Made Me Love You” and “Love Me or Leave Me” became her signature songs.

Next she headed to Hollywood and made a string of movie shorts and three full-length features. Her big break came in Roman Scandals with Eddie Cantor and Lucille Ball in a bit part. Then came Gift of Gab and Hips Hips Hooray.

It was in Hollywood that her loveless marriage finally fell apart. In 1937 Ruth fell for her accompanist and, in a rage, the Gimp shot him. The musician survived, Snyder went to jail and Ruth ended up divorcing him and marrying her true love, Meryl Alderman. But the scandal was too much for her career to survive. She made a few attempts at a comeback, but her days as America’s Sweetheart were over.

(Information from ruthetting.com, a site maintained by the granddaughter of one of Ruth Etting’s cousins.)

jeffrey lewis with helen schreiner – bugs and flowers (live)

Jeffrey Lewis and Helen Schreiner perform a beautiful version of “Bugs and Flowers”.

Out in the forest
Out past the stone wall
Built by old farmers
Or older guys
I saw a railway
With tracks all rusted
Wild flowers blooming
Up through the ties

I set out walking
Just cross-tie walking
Out on the cross-ties
Where I could step

Sometimes I missed one
Sometimes there was none
Sometimes the flowers
Had eaten it
The sun was burning
The flies were churning
The trees were turning
Inside the sky
The tracks were rotten
Some trash forgotten
Sometimes a bottle with ash inside

I’ve been a walker
A sidewalk talker
Out on the sidewalks
Where I could step
Someday my body
Will look real shoddy
Wherever flowers have eaten it
Voracious flowers
Voracious hours
Voracious people
Voracious slime
Words like voracious
Just sound like nonsense
After you say them about five times

These flowers blooming
They are not human
These flies and insects
Are really weird
Their backs are shiny
Their souls are tiny
And by the zillions
They’ve disappeared
So if there’s life after
It’s packed with insects
It’s filled with flowers
No room for us
When they kick the bucket
They just say chuck it
They come and go like
Infinite dust

The human race’s
Beautiful faces
Changing places
Reform and bust
When we kick the bucket
Let’s just say chuck it
We’ll come and go like
Infinite dust

the pleasure seekers – what a way to die (1965)

The Detroit garage band the Pleasure Seekers originally comprised sisters Suzi, Patti, and Arlene Quatro, the daughters of jazz musician Art Quatro. The group started while the siblings were all still in their teens. They quickly transcended novelty status by writing their own material and playing their own instruments, and made their debut in 1966 with the local hit “Never Thought You’d Leave Me,” released on the Hideout label (the recording arm of the local teen club where Suzi reportedly worked as a counter clerk). A year later they jumped to Mercury for “Light of Love.” Eldest sister Arlene soon exited the Pleasure Seekers to begin a family — among her children was actress Sherilyn Fenn, best known for her work in the TV cult series Twin Peaks — and was replaced by another Quatro sister, Nancy. Throughout the remainder of the decade the band toured relentlessly, even appearing at a USO showcase at the peak of the Vietnam War, but mainstream success continued to elude them. Around 1969, the Pleasure Seekers rechristened themselves Cradle, a move which also heralded a harder-edged sound. By the early ’70s, however, the trio disbanded, with Suzi going on to fame as a solo performer while Patti joined the California band Fanny (info from allmusic.com).