SteppenwolfRed , taraNtula and Soused

"Steppenwolf" is finished with the surreal Magic Theatre sequence in which Harry murders his true love who is actually a figment of the drug addled saxophone player's imagination who transforms her into a doll and pockets her. Was she real or not? A weirdly impressive book by Hermann Hesse. 

I am now revisiting "taraNtula" by Bob Dylan , yes the spelling is correct and the stream of consciousness approach and dialogue actually seems to naturally follow on from the end of "Steppenwolf" and has given me an idea for a book or at least a long piece of my own. While Dylan had his position as an established artist to attract an audience it may be that barring an unexpected twist of fortune mine will remain unread and it will probably not be an easy read but hopefully , like "Steppenwolf" there might be tempting breadcrumbs in there for readers.

As I write this I am listening to "Soused" by Scott Walker and Sunn O))) one of the most incredible sounding experiences I have ever heard. Scott Walker is a true total artist and Sunn O))) are premier noise drone purveyors and together they take you somewhere you have never been before and will never go again although you always have the option to revisit.

So I will share, once again the opener from "Soused" "Brando" with the video directed by Gisèle Vienne , and I do think these three pieces of art go together without necessarily complementing each other. I've included the Scott Walker documentary "30th Century Man" by Stephen Kijak below which is worth a watch. I've done it a few times, very impressive and informative.

#TenAlbumsInTenDays #4 - #3 - Soused - Scott Walker and Sunn O)))

I've actually found an album from this decade though Scott Walker has been making records since the 1950s but when I heard "Brando" from "Soused" I was actually stunned. His collaboration with drone noise masters Sunn O)))  is definitely not easy listening, and the only tangible link you have with The Walker Brothers is the voice.

I've written a few posts about Scott Walker and he did become the epitome of an artist well documented in "30th Century Man". The fact that he made challenging music up to the end will no regard for commerciality was incredibly creditable and , to my ears listenable.

So I know this is a short post because I don't want to just repeat what I posted in my other posts (which you can check out if you wish and have time) but it really is an awesome and amazing album.

Sounds,Pictures and Letters

I've just finished Alexei Sayle's "The Weeping Women's Hotel" and must say that the title is probably opne of the biggest McGuffins I've ever come across. This isn't a put down of the book, becouse the title is where it starts and then you har pushed back into the story of how the protagonist got there, and are soon into a completely different place. While the situation is fairly ordinary , the way that Alexei Sayle presents it keeps your attention and wanting to find what happens next and when you end up where you started it almost comes as a shock, although it shouldn't be. I am really glad I picked it up and thoroughly enjoyed it and think you will too.

I'm just listening to 6Music and have just heard that Alexei Sayle is DJing on there tomorrow afternoon, another coincidence in the tapestry of life.

I'.m now reading "David Bowie: A Life" by Dylan Jones , ex Loaded editor and a birthday present from Fiona and it's a fairly hefty volume , and I was worried I already had a copy but was getting it mixed up with the Paul Morley biography. As Jones says Bowie's departure has unleashed a tsunami of books. While it still has to really grab me there's a couple of bits that caught my attention.

When Bowie's death was announced he was covering a mens fashion event and as the news spread he said everyone was in tears. Part of me railed against this, thinking most of those people probably would even know the title of a song (Q:"What's your favourite song on the album" A:"Track 4", that answer is only acceptable for Blur's "Song 2" and Scott Walker's "Track 3" and "Track 5") , but Bowie himself was a fashion icon and everyone has a different take on everything.

In th eintroduction to the book, Jones tells how he ws talking to his dad about the book, saying how when he first saw Bowie on Top of the Pops with his orange hair and rainbow body suit, he was totally hooked. His dad's reply was a killer. "You know we only had a black and white telly". That gem made sure that I will read the book , I am expecting more.

Anyway after the number of bland albums I've chosen over the last few days, I decided to play it safe with Halm Man Half Biscuit's "Cammell Laird Social Club" which I managed to mix up with "McIntyre Tradmore and Davitt" and was rewarded with song after brilliant song which also brough a lot of smiles to my face, such as "The Referee's Alphabet" the night after the pedestrian torpor of the England match at Wembley.

Last night  I was privileged to attend my friend Sheena Revolta's "Garageland" photographic exhibititin in Arch Sixteen, with Lady Annabella looking lovely and DJing opening with the excellent "Rumble" Link Wray. I don't think Arch Sixteen has ever had so many people in (it is a lovely place just over the High Level Bridge in Gateshead) just showing the love that her fans have for Sheena's work. Most of the photos are black and white and are beautifully presented. The exhibition is on for a couple of weeks so get yourself along there and enjoy a visual feast.

So what song to choose, I am torn between a Half Man Half Biscuit song and something to celebrate "Garageland" and trying to think of someting that will merge the two, but I think "27 Yards of Dental Floss" will be just fine, have a brilliant Saturday.

No Regrets and Changing Opinions

My first job was in the 1970s so I suppose mentioning names doesn't really matter too much as it's not defamatory. Of course I was a bit anti mainstream music at the time and I was working at Jame Mercers in Preston as an office clerk. It was a nice place to work and there were some great people there, but the money was not that great but you got a Christmas bonus and taken out for a meal as well.

One of the guys Phil Livesly was always immaculately dressed and maybe could have slipped unnoticed into "Life on Mars" or "Abigail's Party", but he canme in raving to me about he'd heard this brilliant song "No Regrets" by The Walker Brothers , I immediately countered by saying it was commercialised and the Tom Rush original was far superior. This was all good natured, and he's one of the people I do miss from my past.

"No Regrets" by The Walker Brothers came on my player today, and it is a stunning version, so I have changed my opinion on this. Part of this is because of Scott's amazing voice. What I then got to thinking was "I wonder if Phil has heard any of Scott Walker's work since then" and what would his opinion be now.

A contemporary Scott Walker album is not for the faint hearted, and I have a feeling that "Tilt" or "Soused" will not be on Phil's iTunes (I know he'll have an iPhone) . So on this I will include both versions for you to listen to , enjoy both , and if you dare ... go and explore some contemporary Scott Walker.

30th Century Man 2: Scott Walker vs Tom Waits

Last nigh I finished watching 30th Century Man and Fiona got hooked. She said that Scott was very like Tom Waits. I disagreed, but then thought they do have a lot of similarities. The main difference is that Tom Waits' music lives in a skewed version of reality while Scott Walkers' seems to me to be in a completely different universe.

As I'm witing this I'm listening to "Cossacks Are" the opening song from "The Drift" which features in the film. After watch the film you are left wonderfing the closing percussion instrument is, as you see dustbins and slabs of meat being used.

Both artiss started out reasonably mainstream, the main difference that Scott was a pin up and Tom looked like a tramp (a description often given to me). Scott charted with the Walker Brothers and when he split he was successful as a solo artist until "Scott 4". Tom's success was augmented my others such as The Eagles, Bruce Springsteen and Rod Stewart covering his songs.

Then for Tom came "Swordfishtrombones" and for Scott "Climate of the Hunter" where they both truly left the mainstream. Tom often used made up intruments but his composition still are recognisable as songs.

Someone wrote about Scott's pieces (and this is how I remember what they said) "they're not songs, they something else" and I can see what he means. You don't listen to a Scott Walker album and get away with not paying attention.

Currently playing is "Clara" inspired by the execution of Mussolini and his girlfriend that Scott had seen on cinema newsreels as a child , and the adults would not explain what had happened, it features the meat percussion.

His pieces are poems mixed with tone pieces, they give the impressions of massiveness and claustrophobia, they do make you feel, but you have a feeling of not knowing where or when you are, maybe something like a mental flotation tank.

Tom Waits is clearer, he takes you on journeys , on foot or in a dodgy automobile, he is Americanm but not a TV American, his stories are engaing and you often wonder "what's that playing". They are songs though.

I think the only other people I could group with these two are Captain Beefheart, The Fall then to some effect Bowie, Zappa and Siouxsie and maybe Pearls Before Swine.

I was surprised to hear that Scott Walker never listens to his work once it's finished. I can understand an autor not reading his own books, but given that Scott is often ten years between albums he does have time to listen to his amazing work.

Having said that Tom Waits is almost a relief after listening to Scott Walker. Two amazing, amazing artists.

30th Century Man

I'm currently watching the ten year old documentary "30th Century Man" (I seldom watch two hour programs in one session) about the reclusive and supposedly evasive Scott Walker. One the the big moments is when he comes into the studio wearing a pulled down baseball cap, and you think what's he going to be like, is this going to be a car crash, but his latest album is a collaboration with drone noise band Sunn O))) so you know he can talk to people and he comes across as open, knowledgeable and easy to talk to.

The film features contributions from lots of musical icons (see the tags) and I noticed one very interesting parralel. Scott had been drinking at the opening of the Playboy Club in London, got very drunk got talking to a girl who could drink more than him. They went back to her flat and he noticed that she had a lot of Jacques Brel albums which she kept playing and translating for Scott.

He became hooked on Brel from this and a couple of days later he met Andrew Loog Oldham for afternoon Black Russians. Scott mentioned Brel and Oldham said that's a coincidence, there's guy sent some piano versions of Brel English transciption that he'd done which were not that good. Scott said I'll have them. Andrew Loog Oldham was the guy who sued the Verve for using the orchestral tape loop of "The Last Time" on "Bitterweet Symphony"but that's an aside. So a girl in a flat got Scott Walker into Jacques Brel.

In the sixties the BBC gave Scott a TV series expecting a middle of the road entertainer, The show last six episode and the BBC destroyed all the tapes so all that is left are fragments and photographs. They got Scott Walker not a Jack Jones or Tom Jones.

Cut to David Bowie (Executive producer of this documentary):

David was dating one of Scott Walker's ex girldfriend, and was a bit pissed off that she had lot's of Scott's albums, which she kept playing which pissed him off even more. But the more she played the more he realised what a great voice this guy had, and so became a real Scott Walker fan. So a girl in a flat got David Bowie into Scott Walker.

They both covered Jaques Brel's "Amsterdam" so were obviously both fans.

Apparently they contacted Julian Cope who is a big fan, but Julian is even more interview shy than Scott so they just show the letter he sent in reply.

The song I will choose is a Brel translation from the sixties, but that voice is amazing, so for you education I'll include his debut solo TV performance on the Dusty Springfield show "Mathilda" or "Mathilde" depending on how it's listed .

Enjoy your Friday.

#LikeNoOther #7 Brando - Scott Walker and Sunn O)))

Scott Walker may only mean being one of The Walker Brothers to you with songs such as "The Sun Ain't Gonna Shine Anymore" and "No Regrets", but when he left he ploughed and interesting solo furrow, covering Jacques Brel (as did Bowie) and displaying a wry sense of humour on the excellent over the top "Jacqui".

As he's aged, his mind and artistry has gone further and further out from the mainstream, with album titles such as "Bish Bosch" and "Soused", which sound inconsequential, but if you are willing to give them the time, they will pay you back in spades. If you put them on at a party, they will probably empty your house fairly rapidly, but anyone who stays may someone worth investing your time in.

"Soused" was made with noise/drone giants Sunn O))) , and when I first heard "Brando" my jaw dropped. How could you describe this, a voice in the realms of musicals and opera backed by slabs of stabbing sound that keeps up for close on nine minutes. No one I've spoken to can describe it, but they are definitely affected by it.

It deserves to be played loud, it is monstrous and glorious, and three years on it has lost none of it's power.

I am glad we have Youtube so I can share these things with you.

Take a listen when you have half an hour to spare. It will make you think