My little tribute to Lou Reed, an artists i've loved my whole life.
A) Waltzing Matilda
Waltzing Matilda whipped out her wallet
The sexy boy smiled in dismay
She took out four twenties 'cause she liked round figures
Everybody's queen for a day
Oh, babe, I'm on fire and you know I admire your -
- body why don't we slip away
Although I'm sure you're certain, it's a rarity me flirtin'
Sha-la-la-la, this way
Oh, sha-la-la-la-la, sha-la-la-la-la
Hey, baby, come on, let's slip away
Luscious and gorgeous, oh what a humpin' muscle
Call out the national guard
She creamed in her jeans as he picked up her knees
From off of the formica topped bar
And cascading slowly, he lifted her wholly
And boldly out of this world
And despite people's derision
Proved to be more than diversion
Sha-la-la-la, later on
And then sha-la-la-la-la, he entered her slowly
And showed her where he was coming from
And then sha-la-la-la-la, he made love to her gently
It was like she'd never ever come
And then sha-la-la-la-la, sha-la-la-la-la
When the sun rose and he made to leave
You know, sha-la-la-la-la, sha-la-la-la-la
Neither one regretted a thing
B) Street Hassle
Hey, that cunt's not breathing
I think she's had too much
Of something or other, hey, man, you know what I mean?
I don't mean to scare you
But you're the one who came here
And you're the one who's gotta take her when you leave
I'm not being smart
Or trying to be cold on my part
And I'm not gonna wear my heart on my sleeve
But you know people get all emotional
And sometimes, man, they just don't act rational you know,
They think they're just on TV
Sha-la-la-la, man
Why don't you just slip her away
You know, I'm glad that we met man
It really was nice talking
And I really wish that there was a little more time to speak
But you know it could be a hassle
Trying to explain this all to a police officer
About how it was that your old lady got herself stiffed
And it's not like we could help
But there wasn't nothing no one could do
And if there was, man, you know I would have been the first
But when someone turns that blue
Well, it's a universal truth
And then you just know that bitch will never fuck again
By the way, that's really some bad shit
That you came to our place with
But you ought to be more careful around the little girls
It's either the best or it's the worst
And since I don't have to choose
I guess I won't and I know this ain't no way to treat a guest
But why don't you grab your old lady by the feet
And just lay her out in the darkest street
And by morning, she's just another hit and run.
You know, some people got no choice
And they can never find a voice
To talk with that they can even call their own
So the first thing that they see
That allows them the right to be
Why they follow it, you know, it's called bad luck.
C) Slipaway
Well hey(man), that's just a lie,
It's a lie she tells her friends.
'cause the real song, the real song
Where she won't even admit to herself
The beatin' in her heart.
It's a song lots of people know.
It's a painful song
A little sad truth
But life full of sad songs
Penny for a wish
But wishin' won't make you a soldier.
With a pretty kiss for a pretty face
Can't have it's way
Y'know tramps like us, we were born to pay.
Love has gone away
And there's no one here now
And there's nothing left to say
But, oh, how I miss him, baby
Oh, baby, come on and slip away
Come on, baby, why don't you slip away
Love is gone away
Took the rings off my fingers
And there's nothing left to say
But, oh how, oh how I need him, baby
Come on, baby, I need you baby
Oh, please don't slip away
I need your loving so bad, babe
Please don't slip away
Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts
Wednesday, 6 November 2013
Friday, 26 October 2012
Activity 4.3. An almost decent poem... Out with the old, In with the new.
Out with the old, in with the New -
Out with the crusty brown beards, sweating earnestly over their
freight-boards
Experts of angled fingers, striking the chord just right, purity was all.
But not to new youths, throats and guts filled by waggy-fingered elders
That the 60’s were the greatest ever! Revolution man!
The Beatles, you must, you should - bow to them, for you’ll never do better,
Boys you’ll have to carry that weight… But Bowie, Roxy & little Marc
Shrugged-off the Beatle weight, and got busy building their own.
Without the drag of all that revolution stuff, man
The crusty Harrison brown beards looked up from the earnest guitars and
shook their heads
You’re not doing it right, you’re all look and no substance, but they were
wrong, they
Were concrete while we were free… our minds became the universe.
We ganged into the EEC, the yanks fled Vietnam and Stardust committed
suicide.
Virginia Plain changed music as just as the Sidney opera house opened and
the crook lied.
We couldn’t bury bodies or build a car worth its salt, but we knew the dark
side of the moon
We felt the cutting death of that precious crazy diamond, and all the while
the brown beards
Stood in the corner, wondering where it had all gone wrong.
Friday, 10 August 2012
Bowie's 'Diamond Dogs'
Just wrote a reply in Bret's blog about one of our Favourite albums David Bowie's Diamond Dogs.
Since i haven't posted on here as much as i would've have liked i thought i would post it here.
I love Diamond Dogs.
My favourite section is the 'Sweet thing/Candidate/reprise' suite. It was like a whole story within itself, it was dirty in its atmosphere and bowie's voice was seedy and slightly manic. All about political intrigue and, as far as i can tell, mutation - 'to you think your face looks the same' to me was a reference to fall-out. Then it went off into a strange ice-age theme ... being 12 i just loved it.
For it was back when i was 12 that i got my grubby mitts on my sisters first husband's original gate-fold sleeves of DD and AS. I kind of 'Borrowed' them.
The art work was just wonderful, that big slavering dog that bowie was nonchalantly holding onto. Then of course there was the picture within the gate-fold ... Bowie as Halloween Jack turning into a man/dog hybrid. Loved the dark carmine colour of his hair if i remember rightly.
Then of course there came the music ... being only 12 i had never heard an intro like that before, this spoken word set-up for the album called 'Future Legend' .. it was so atmospheric. It goes like this -
And in the death
As the last few corpses lay rotting on the slimy thoroughfare
The shutters lifted in inches in Temperance Building
High on Poacher's Hill
And red mutant eyes gaze down on Hunger City
No more big wheels
Fleas the size of rats sucked on rats the size of cats
And ten thousand peoploids split into small tribes
Coveting the highest of the sterile skyscrapers
Like packs of dogs assaulting the glass fronts of Love-Me Avenue
Ripping and rewrapping mink and shiny silver fox, now legwarmers
Family badge of sapphire and cracked emerald
Any day now
The Year of the Diamond Dogs
WOW - you could feel the howling and the creeping hellishness of the new New York. Bowie never did normal, thank god he cared about his music enough to let his imagination stay at the forefront and not let chart success to rule over him totally.
The guitar riffs were Rolling Stone Inspired, with bowie playing the guitars, though i now wonder what they would've sounded like if Mick Ronson were still playing for him.
Check-out the anniversary two disc edition ? Its brill, it gives a flavour of Bowie's original desire for its sound... which is more musical check-out the different versions of candidate and 1984.
One of the things that us devoted bowie fans have always wanted is for DB is release on DVD the DD tour (Before it became the Philly dogs tour, when he started writing Young Americans) and also to release more of the different versions of DD that's hiding in his vaults.
Also love the story of the mistake at the end of Big Brother when, i think an engineer, accidentally stuck the tape in a loop and Bowie kept it in.
Bowie wanted to write about Orwell's 1984 but Orwell's widow didn't allow it. But also there were a couple of books that Bowie was reading 'Clockwork Orange' being the most famous one, mainly because he talked about it lots. Though i think an American SI-Fi writer Samuel R Delany had released a novel called Dhalgren, which heavily influenced Bowie's lyrics.
Diamond Dogs also has two of Bowie' most underrated songs in 'We are the dead' and 'Rock'n'roll with me.'
Of course it has the best version of 'Rebel Rebel' one of the man's best, the riff that to this day i still believe Keef, which he had come up with. But the lyrics, usually lyrics speak to a generation like say Bowie's 'All the young dudes' which doesn't hold today, mainly because nobody wants to kill off the 60's any more, there's supposedly no need. But with 'Rebel Rebel' i dont think that's true.
Generation after generation can feel it in their lives, after all the opening line 'got your mother in a whirl, she doesn't know if your a boy or a girl' is not only sheer utter class, its timeless and universal. Its about that slightly wasted teenage phase that will never go out of fashion.
I think most teens should go through a small phase that embodies the closing lyric below -
You've torn your dress, your face is a mess
You can't get enough, but enough ain't the test
You've got your transmission and your live wire
You got your cue line and a handful of ludes
You wanna be there when they count up the dudes
And I love your dress
You're a juvenile success
Because your face is a mess
So how could they know?
I said, how could they know?
So what you wanna know
Calamity's child, chi-chile, chi-chile
Where'd you wanna go?
What can I do for you? Looks like you've been there too
'Cause you've torn your dress
And your face is a mess
Ooo, your face is a mess
Ooo, ooo, so how could they know?
Eh, eh, how could they know?
Diamond Dogs ends, with the peoploids doing what they always do, looking for someone else to be their messiah who takes the shape of Some brave Apollo.
All in all its an experience as well as an album of music, it goes through so many different atmosphere's and delights some seedy some romantic but always with a hint of melancholy.
Just a wonderful and strange ride, baby.
Since i haven't posted on here as much as i would've have liked i thought i would post it here.
I love Diamond Dogs.
My favourite section is the 'Sweet thing/Candidate/reprise' suite. It was like a whole story within itself, it was dirty in its atmosphere and bowie's voice was seedy and slightly manic. All about political intrigue and, as far as i can tell, mutation - 'to you think your face looks the same' to me was a reference to fall-out. Then it went off into a strange ice-age theme ... being 12 i just loved it.
For it was back when i was 12 that i got my grubby mitts on my sisters first husband's original gate-fold sleeves of DD and AS. I kind of 'Borrowed' them.
The art work was just wonderful, that big slavering dog that bowie was nonchalantly holding onto. Then of course there was the picture within the gate-fold ... Bowie as Halloween Jack turning into a man/dog hybrid. Loved the dark carmine colour of his hair if i remember rightly.
Then of course there came the music ... being only 12 i had never heard an intro like that before, this spoken word set-up for the album called 'Future Legend' .. it was so atmospheric. It goes like this -
And in the death
As the last few corpses lay rotting on the slimy thoroughfare
The shutters lifted in inches in Temperance Building
High on Poacher's Hill
And red mutant eyes gaze down on Hunger City
No more big wheels
Fleas the size of rats sucked on rats the size of cats
And ten thousand peoploids split into small tribes
Coveting the highest of the sterile skyscrapers
Like packs of dogs assaulting the glass fronts of Love-Me Avenue
Ripping and rewrapping mink and shiny silver fox, now legwarmers
Family badge of sapphire and cracked emerald
Any day now
The Year of the Diamond Dogs
WOW - you could feel the howling and the creeping hellishness of the new New York. Bowie never did normal, thank god he cared about his music enough to let his imagination stay at the forefront and not let chart success to rule over him totally.
The guitar riffs were Rolling Stone Inspired, with bowie playing the guitars, though i now wonder what they would've sounded like if Mick Ronson were still playing for him.
Check-out the anniversary two disc edition ? Its brill, it gives a flavour of Bowie's original desire for its sound... which is more musical check-out the different versions of candidate and 1984.
One of the things that us devoted bowie fans have always wanted is for DB is release on DVD the DD tour (Before it became the Philly dogs tour, when he started writing Young Americans) and also to release more of the different versions of DD that's hiding in his vaults.
Also love the story of the mistake at the end of Big Brother when, i think an engineer, accidentally stuck the tape in a loop and Bowie kept it in.
Bowie wanted to write about Orwell's 1984 but Orwell's widow didn't allow it. But also there were a couple of books that Bowie was reading 'Clockwork Orange' being the most famous one, mainly because he talked about it lots. Though i think an American SI-Fi writer Samuel R Delany had released a novel called Dhalgren, which heavily influenced Bowie's lyrics.
Diamond Dogs also has two of Bowie' most underrated songs in 'We are the dead' and 'Rock'n'roll with me.'
Of course it has the best version of 'Rebel Rebel' one of the man's best, the riff that to this day i still believe Keef, which he had come up with. But the lyrics, usually lyrics speak to a generation like say Bowie's 'All the young dudes' which doesn't hold today, mainly because nobody wants to kill off the 60's any more, there's supposedly no need. But with 'Rebel Rebel' i dont think that's true.
Generation after generation can feel it in their lives, after all the opening line 'got your mother in a whirl, she doesn't know if your a boy or a girl' is not only sheer utter class, its timeless and universal. Its about that slightly wasted teenage phase that will never go out of fashion.
I think most teens should go through a small phase that embodies the closing lyric below -
You've torn your dress, your face is a mess
You can't get enough, but enough ain't the test
You've got your transmission and your live wire
You got your cue line and a handful of ludes
You wanna be there when they count up the dudes
And I love your dress
You're a juvenile success
Because your face is a mess
So how could they know?
I said, how could they know?
So what you wanna know
Calamity's child, chi-chile, chi-chile
Where'd you wanna go?
What can I do for you? Looks like you've been there too
'Cause you've torn your dress
And your face is a mess
Ooo, your face is a mess
Ooo, ooo, so how could they know?
Eh, eh, how could they know?
Diamond Dogs ends, with the peoploids doing what they always do, looking for someone else to be their messiah who takes the shape of Some brave Apollo.
All in all its an experience as well as an album of music, it goes through so many different atmosphere's and delights some seedy some romantic but always with a hint of melancholy.
Just a wonderful and strange ride, baby.
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