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Wednesday, July 22, 2009
HOLD MY HAND
just when i think i'm out, Jackson pulls me back in.
so yeah i've been outta the blogger scene for over a year, mainly bcuz i've gotta couple-o-kids and what-not, but who cares about all that -
i don't feel the need to share any of my thoughts on Michael Jackson except that:
1. I still remember doing the moonwalk in my bedroom at age 9
2. Like many others his death has given me a very unexpected-never-thought-it-could-ever-happen-again interest in his music.
so i have some trax to share is the damn point.
the first is HOLD MY HAND rcorded last year with AKON and thus-far unreleased.
the second is SAY SAY SAY the more unknown song with MJ and McCartney
the third is WILL YOU BE THERE, and, FreeWilly or no, this is a great track
enjoy and help spread the word about HOLD MY HAND.
if they released that thng right now how could it not be a hit.
Is it just me, or is the version of VIDEOTAPE about 500 TIMES BETTER than the studio version??
Anyway, heres the best lyrics I could find, from GREEN PLASTIC:
IN RAINBOWS LYRICS
15 Step
How come I end up where I started How come I end up where I belong Won't take my eyes off the ball again You reel me out then you cut the string
How come I end up where I started How come I end up where I belong Won't take my eyes off the ball again You reel me out then you cut the string
You used to be alright What happened? Did the cat get your tongue Did your string come undone One by one One by one It comes to us all It's as soft as your pillow
You used to be alright What happened? Etcetera etcetera Facts for whatever Fifteen steps Then a shear drop
Bodysnatchers
I do not Understand What it is I've done wrong Full of holes Check the pulse Blink your eyes One for yes Two for no
I have no idea what I am talking about I'm trapped in this body and can't get out Ooooohhhh
Make a sound Move back home Get an invitation With the edges Sawn off
I have no idea what you are talking about I'm trapped in this body and can't get out Ooooohhhh
Has the light gone out for you? Cause the light's gone for me It is the 21st century It is the 21st century You can fight it like a dog And they brought me to my knees They got scared and they put me in They got scared and they put me in All the lies run around my face All the lies run around my face And for anyone else to see And for anyone else to see
I'm alive
I've seen it coming
Nude
Don't get any big ideas they're not gonna happen You paint yourself white and feel up with noise but there'll be something missing
Now that you've found it, it's gone Now that you feel it, you don't You've gone off the rails
So don't get any big ideas they're not going to happen You'll go to hell for what your dirty mind is thinking
Weird Fishes/Arpeggi
In the deepest ocean The bottom of the sea Your eyes They turn me Why should I stay here? Why should I stay?
I'd be crazy not to follow Follow where you lead Your eyes They turn me
Turn me on to phantoms I follow to the edge of the earth And fall off Everybody leaves If they get the chance And this is my chance
I get eaten by the worms Weird fishes Get towed by the worms Weird fishes Weird fishes Weird fishes
I'll hit the bottom Hit the bottom and escape Escape
I'll hit the bottom Hit the bottom and escape Escape
All I Need
I'm the next act waiting in the wings I'm an animal Trapped in your hot car I am all the days that you choose to ignore
You are all I need You are all I need I'm in the middle of your picture Lying in the reeds
I am a moth who just wants to share your light I'm just an insect trying to get out of the night
I only stick with you because there are no others
You are all I need You are all I need I'm in the middle of your picture Lying in the reeds
It's all wrong It's all right It's all wrong
Faust ARP
One two three four
Wakey wakey rise and shine it's on again, off again, on again watch me fall like dominos in pretty patterns fingers in the blackbird pie I'm tingling, tingling, tingling it's what you feel now what you ought to, what you ought to reasonable and sensible dead from the neck up because I'm stuffed, stuffed, stuffed we thought you had it in you but no, no, no for no real reason
Squeeze the tubes and empty bottles and take a bow, take a bow, take a bow it's what you feel now what you ought to, what you ought to an elephant that's in the room is tumbling, tumbling, tumbling in duplicate and triplicate and plastic bags and duplicate and triplicate dead from the neck up I guess I'm stuffed, stuffed, stuffed we thought you had it in you but no, no, no exactly where do you get off is enough, is enough I love you but enough is enough, enough a last stop there's no real reason
You've got a head full of feathers you got melted to butter
Reckoner
Reckoner Can you take it with you Disavow the pleasure
You were not to blame for Bittersweet distractors Dare not speak his name Dedicated to all you All your needs?
Because we separate it ripples our reflections Because we separate it ripples our reflections
Reckoner
Dedicated to all you All your needs?
House of Cards
I don't want to be your friend I just want to be your lover No matter how it ends No matter how it starts
Forget about your house of cards And I'll do mine Forget about your house of cards And I'll do mine
Fall off the table, Get swept under Denial, denial
The infrastructure will collapse Voltage spikes Throw your keys in the bowl Kiss your husband goodnight
Forget about your house of cards And I'll do mine Forget about your house of cards And I'll do mine
Fall off the table, And get swept under
Denial, denial Denial, denial Your ears should be burning Denial, denial Your ears should be burning Denial, denial
Jigsaw Falling into Place
Just as you take my hand Just as you write my number down Just as the drinks arrive Just as they play your favourite song As your blather disappears No longer wound up like a spring Before you've had too much Come back and focus again
The walls abandon shape You've got a cheshire cat grin All blurring into one This place is on a mission Before the night owl Before the animal noises Closed circuit cameras Before you're comatose
Before you run away from me Before you're lost between the noise The beat goes round and round The beat goes round and round I never really got there I just pretended that I had What's the point of instruments Words are a sawed off shotgun
Come on and let it out Come on and let it out Come on and let it out Come on and let it out
Before you run away from me Before you start unravelling Before you take my mic Just as you dance, dance, dance
Jigsaws falling into place There is nothing to explain Regard each other as you pass She looks back, you look back Not just once Not just twice Wish away the nightmare Wish away the nightmare You've got a light you can feel it on your back You've got a light you can feel it on your back Jigsaws falling into place
Videotape
When I'm at the pearly gates This will be on my videotape, my videotape Mephistopheles is just beneath and he's reaching up to grab me
This is one for the good days and i have it all here In red, blue, green Red, blue, green
You are my center When i spin away Out of control on videotape On videotape On videotape On videotape
This is my way of saying goodbye Because I can't do it face to face I'm talking to you after it's too late From my videotape
No matter what happens now You shouldn't be afraid Because I know today has been the most perfect day I've ever seen.
Another month another mix. If you're a regular (i do have a few those, yeah?) then I'm sorry for no updates. I kinda go in phases - been into movies and videogames lately. Anyway, here we are again! It's been kind funny, cuz I didn't think I even had much for a new mix, but then my friend hooked me up with some hot Zwan shit and I discovered that Enigk slipped one by me! Add that to some leaked Rogue Wave and Band of Horses, coupled with a stellar Iron & Wine show and a few other gems and it's MIX ON!
Because really, who hasn't been sleeping alone and wondered if there's a ghost in their house? (Can someone tell me what in the hell that's all about? I mean, I love it and all, but... hmm.)
So, for the first time in my life, (amazingly), i went to an outdoor music festival. The Pitchfork Music Festival, to be exact. What did I think? Well, it was weird to see bands in broad daylight, it kinda sucked that there was no re-entry, and there weren't enough urinals. Oh, and as many of you have heard, the sound was for shit.
Still a good time though, as Chicago always is.
Before I get to the music, though, some pics our friends took:
- Chicago, natch
- Navy Pier Ferris Wheel
- Me & Wifey
- Downtown Chicago @ night from the Pier
Right, so I went to see two acts in particular: Iron & Wine and Steven Malkmus. Can't say I was blown away by either, but they were at the very least interesting performances. Sam Beam was testing his new "expanded" sound, with a line-up of several Chicago musicians. The results were pretty good for the most part, (I especially enjoyed the creative percussion), but it was a bit to "jam-y". I would have taken less fooling around to hear Naked As We Came. Malkmus was great - cracking voice and all. And, of course, it was great to see Bob "Pavement Drummer" Nastanovich play on 2 songs and return w/ the roadie for a performance of a different sort for the finale (See "We Dance" below).
Iron & Wine:
- My best pic of Mr. Beam
Iron & Wine Live @ Pitchfork:
(Sorry for the sound quality, again the sound was for shit. I tried NERO, but the results this time were... questionable at best.)
The best-ever version of Love Song of A Buzzard, Messiah College February 2007 (way better than album version):
Pitchfork Interview:
Interview: Sam Beam of Iron & Wine | [Interview by Paul Thompson]
Pitchfork: You're going on stage in a few minutes. Anything special planned for your set?
Sam Beam: We've been practicing all week. I have a new band, so basically it's the first time we've played. So I had to run through, learn some songs. [laughs]
Pitchfork: Have you seen any other bands today?
SB: Not so much. I watched Califone play, they're good friends, I love to watch them play. And I was watching Grizzly Bear, they're really good too. But I have my family here, so we did lunch.
Pitchfork: Are you able to stick around after your set?
SB: Yeah, I'm gonna stick around, see what Yoko has to say.
Pitchfork: I was trying to find you earlier and people kept telling me that you'd shaved your beard. I was very confused. Any plans for any radical image transformations in the near future?
SB: "Shit, how am I gonna find him?" [laughs] That would be pretty radical! That's all I've gotta do, though, right?
Pitchfork: Yeah! You've got a new album coming out, so you could do something like that and start over new.
SB: Yeah, lotta music out there, you've gotta compete.
Pitchfork: Are you excited about the new record?
SB: I'm excited to have new material, because it gets pretty old playing the same songs over and over again. But also I've got a new band, so that makes things fresh for me. So what's new in the Pitchfork office? Any good records lately?
Pitchfork:[laughs] Ha, uh, that new Animal Collective record's pretty good. Seems like they've been building to something, and this might be it. How about you? What have you been listening to?
SB: Honestly, I haven't heard a whole lot of good stuff. I don't have the time as much as I used to to listen to records. I listen to the Joanna Newsom record a lot this year, that was good. Somehow the Beatles records just always stays by the sink where I wash dishes and listen to records, with the Beefheart records. Oh, I did hear that Panda Bear record, I like that record, that was good. But yeah, I haven't heard a lot of new stuff. That's why I keep checking out your site!
Pitchfork: You've spent a lot of time in Chicago before, right?
SB: Yeah, I've done a lot of recording here, played a couple times. I mixed the last record here. I love it here. I've got a lot of friends, good experiences.
Stephen Malkmus:
(Images from Pitchfork)
First Song - Heaven is a Truck:
Last Song - We Dance: (features Pavement drummer Bob Nastanovich)
Pitchfork Interview:
Interview: Stephen Malkmus| [Interview by Bradford Cox of Deerhunter]
Bradford Cox: Are you on tour right now?
Stephen Malkmus: No, I'm on vacation. I came with my family here. My wife's daddy is from Chicago, but he retired to Indiana Dunes. I don't know if you're familiar with the neighborhood but there's a town, Michigan City. That's why I'm kinda tan.
BC: You are tan! You've always been kind of an alpha male. When I was 10 or 11 years old, Crooked Rain came out, and I didn't know if I was sexually attracted to you at 11, because my balls hadn't even dropped yet, but I think that my major fantasy would be that you'd marry my sister so we would be brothers-in-law. And that didn't work out.
SM: Did she marry?
BC: Yeah, she married.
SM: We have similar builds ... maybe you saw some of yourself in me.
BC: No. What it is is an alpha male thing. You serve as an alpha male for this particular culture. Is that a burden?
SM: No, it's not much of a burden, 'cause it's a pretty benign culture, 'cause nobody's gunning for me. Lou Barlow's not over there going, "Oh, man."
BC: But it's the same way that Kim Deal is like the alpha female! Did you ever think of marrying Kim Deal?
SM: No, but I met her. She's my same astrological sign.
BC: What is that sign?
SM: Gemini.
BC: I'm Taurus.
SM: I wouldn't have married her. She's a trashy, tough-talkin' kind of gal.
BC: I love that!
SM: Me too! It's tough, though. You're from Atlanta, right?
BC: Yeah.
SM: Did you see Pavement when we played at that S&M dungeon or whatever? Masquerade?
BC: The Masquerade is haunted! And no I didn't, 'cause I must've been twelve [years old]. I'm from Athens originally; I was born in Athens in 1982, the same time that Murmur was recorded. I know that you've been an R.E.M. fan in the past.
SM: I'm a big fan of that album, yeah.
BC: But, yeah, there's a limit to how far you can go with R.E.M.
SM: Basically Fables of the Reconstruction. There's still individual tracks. Some of their singles are good. I like "Fall on Me", that's a good song. Even Automatic for the People has got its way.
BC: Back in Stockton [California] when you were young, did you ever have any homoerotic experiences?
SM: Not really. On a train to New York from Chicago, this guy groped me once. I was asleep basically and this guy was over me with his hands on me on an overnight train. And I was like, "What the fuck?" It was kind of more like a morbid dream than it really happened.
BC: The progression of your music from the primitive early Pavement stuff-- it seems like you've been moving in your own direction. Not in an offensive way, but it seems very self-indulgent. It seems like you're doing exactly what you want to do. Which means guitar solos a lot. Your solo records have gone in so many collage-like directions. But it seems like it's going towards more of a progressive thing.
SM: Maybe. There's more parts, it's true. It's kind of the people I'm playing with, too. The early days, you don't know what you're doing, and that's nice. Everything's new, so you do stuff, and you think it's great without questioning it as much. I miss that. After some of my records-- WoweeZowee or something-- the era was over.
BC: With Pavement and your solo records, you've always had such great B-sides. Like that song "Cherry Area", what is that song about?
SM: Well, I don't know. We just made it up at the time. "Cherry Area" would be, like, a sexual area.
BC: That's what I thought! Dennis Cooper recently published a list on his blog of his favorite gay love songs of all time, and "Cherry Area" was on the list. I don't know why, but it definitely has a sexual energy. Maybe it's the higher vocals.
SM: I just made that up with Dave Berman [of Silver Jews]. We were drinking.
BC: You and Dave Berman never had a homoerotic energy?
SM: No, I don't think so. Competitive, in a way. Kind of like, "You can do this, I can do that." Maybe he's had more of a burden of influence than me because I came before him in music, and people know Pavement. So people always thought, "This is a Pavement side project, what are you doing?" So that's irritating, 'cause he has a big ego. But he's over it now.
BC: If it wasn't for you, I never would've known about him, or found out about Actual Air, which is my favorite book of all time. Your lyrics have changed in scope-- in Pavement, they were very collaged, absurdist. Now they seem to be a lot more direct.
SM: I think so. I'm more direct. You get a lot more direct when you're older. You probably know, talking to your dad, he's probably pretty direct. He might not've been so direct when he was walking around like a dumbshit.
And last and certainly least, Yoko Madness:
View only if you want to test the limits of your sanity:
Yeah, we stayed through the first song, through some yelping, halphway through a spoken-word/one woman show peice and left as soon as she called herself a bitch. Wow.
Holy Balls, Spoon is good. I think, with their latest, they're really starting to win over the jaded indie-rock hipsters. They are just damn-good, that's all there is to it.
Anyway, it's MOTOVRES MIX time!
Yes, enough with that E3 silly business, this is an mp3 blog afterall!
