Irreversible Entanglements - Fireworks (Official Audio)Don Giovanni2018-05-02 | Don't forget to subscribe for more great exclusive videos: http://bit.ly/1xR6CmV
It could have been today, it could have been next week When the cops blew the whistle on a house party That was some time ago, and that was imminently And it spun out of control cyclically
And the trouble if you’re thinking categorically Is there’s masculine, there’s feminine, there’s androgyny And there’s in and there’s out, and then there’s me When the state comes to police the boundaries
I was brought up with religion, I’m no stranger to faith I learned to love thy neighbor in like a hundred ways But when there’s social control masquerading as virtue Well that’s the type of pill that won’t do nothing for you
And they’re drafting up a law a couple states away Unambiguously, that’s in the present day When the cops blow the whistle on who you can be Then the riptide pulls you down, hey, hey
When ya do ya hallelujah I see through ya
To express oneself, now expressly forbidden That’s a spiritual hell, that’s a new prohibition And they’ll boil you down to reproductive function When they see you as a vessel and not as a person
And then it’s teachers on parents, and parents on teachers A culture of snitching and paranoid grievance And then it’s students on teachers, and teachers on kids You go “blah blah blah blah freedom,” but that’s not what it is
Ancient//Future is the band’s first official album since their acclaimed 2020 album The Cycle, and arrives in the wake of Celestial Bodies—a collection of works that includes collaborations with beloved television programming block Adult Swim, Berlin-based dance company Christoph Winkler, and the Cleveland Museum of Art. Putting on Ancient//Future, it quickly becomes clear that M[A]B have grown exponentially since their last studio effort. Featuring contributions by violinist Caitlin Edwards, Ancient//Future presents M[A]B at their most direct, unrepressed, and thought-provoking – a work aptly represented in the album’s compelling cover art, created by LA-based artist Dakari Akil. Through a dialogue between contemporary digital techniques and live instrumentation, they are dedicated to crafting aural stories that illuminate the African Diaspora. With a unique blend of organic textures, harmonized vocals, and hip-hop production, M[A]B's work transcends genre and eschews convention.
Arriving on the heels of a tour supporting celebrated experimentalist Lonnie Holley, M[A]B returns with a commanding album filled with rich auditory exploration and profound narratives. At the core of Ancient//Future is a rousing, ruminative thesis: “In a world that is shaken at its core, at war with the earth and in its values, in its capital perspective and ignorant to the depth of life’s meaning we offer a suite of songs entitled Ancient//Future. How do you approach a flame that spits fire in all directions? A flame that careens the message on its very back? In a landscape filled with love and love lost, valor and brewing contempt of a marginalized box with tight locks. This output breaks through the ceiling and demands to be seen in full color and uninhibited nakedness.” Exploring themes of intense passion, love, loss, courage, and marginalized anger, M[A]B aren’t afraid to confront the turmoils and conflicts of our contemporary world to blaze new paths forward.
Ancient//Future is a bold continuation of their commitment to challenging the cultural paradoxes of America and forging new pathways in what they call heart music, further solidifying their place as one of the most innovative forces in modern music. Stay tuned for more updates and announcements from M[A]B as they gear up to share more of their inspired and unexpected music.
Lyrics: Here we are, nowhere, and we’re bored, ‘cause we don’t care anymore Throw the pretense overboard, cut your ties with the old guard And I swear, it’s true, we don’t know what to do Let the hush wash over you, till you’re drowning in it
(Wherever, decentered, untethered, ‘cause we don’t care anymore Too bent out to bother, we’re treading cold water We end up suspended, we meant it, we don’t know what to do We process undoneness, you witness no-oneness)
Undone by the high tide of evolution Time unravels and devolves into repetition
And we’re all too scared to hope, ‘cause we’ve got nothing to show It’s all purgatorial, revel in the great unknown And that’s fair, like sure, ‘cause when your dream is deferred And your pleas all go unheard, you sputter and you spin out
(Deflated, unmade and frustrated, ‘cause we’ve got nothing to show We process undoneness, you witness no-oneness We end up suspended, we meant it, ‘cause when your dream is deferred You drift on like fodder, still treading cold water)
And stare up at the sky till your eyes glaze over Your faith goes up in a blaze while the future burns
Goddamn, let the rats inherit the earth Once you’re bottomed out, it’s on to something worse Who’s keeping score anymore? We are, we are, we are You can shout about it till your vision blurs Or till you lose the feeling
God damn, let the rats inherit the earth Once you’re bottomed out, it’s on to something worse Who’s keeping score anymore? We are, we are, we are And out there when the flies and the buzzards swarm Would you say a prayer? Would you know what for? Who’s even sure anymore? We are, we are, we are You can shout about it till your vision blurs Or till you lose the feeling
Undone by the high tide of evolution Unravel and devolve into repetition
Lyrics: I get bored in the summer I read all of your books now I got nowhere to go And you get a little a bit older Every time you come around for the L.A. show
It's not for me to say Why I'm not more than just a missed call on your birthday But when we were dreamers, always sleeping in late Was your heart ever going my way?
I met you in the winter Snow was falling like static on the radio You were framed like a picture Letting all of that heat out the cracked window
It's not for me to say Why I'm not more than just a missed call on your birthday But when we were leavers never staying in place Was your heart ever going my way? Was your heart ever going my way?
I get bored in the summer You get a little bit older I met you in the winter You were framed like a picture
And it's not for you to understand Why I'm always singing back-up in my own damn band I'm just a fool who doesn't know how to say Was your heart ever going my way? Was your heart ever going my way?
Cause it's not for me to say Why I'm not more than just a missed call on your birthday Is it worse to say nothing or say something too late? Was your heart ever going my way? Was your heart ever going my way? Was your heart ever going my way? Was your heart ever going my way?
Lyrics: I'd like to write a song with Willie Sing a duet with Blake Then I'd quit my job at the Burger Queen And take my little Honey on a date But I don't think it's going to happen Because I've been trying to long Rejection slips keep comin' in Turning down all my songs
Hold on Honey hold on all night long Squeeze me real tight in your lovin' arms Tell Me I can do no wrong Hold on Honey, your love keeps me strong Maybe in the morning I'll feel brand new And write you a pretty song
I'd like to make a movie with Dolly Raise a little hell with Hank They can send my money by semi truck And make me the chairman of the bank
But I don't think it's going to happen Because I've been trying to long Rejection slips keep comin' in Turning down all my songs
JOHN WAGNER-GUITAR/VOCAL BOB BARRON – BASS/VOCAL DICK ORR- GUITAR/VOCAL SCOTT MATHIS-MANDOLIN
Lyrics: I’m greedy Bite the hand that feeds me When I die I want you to have my CDs You’re an old soul Like a payphone Everywhere I go I think I hear you ringing God, it’s always something with you
My heart, your heart Where does it end, baby, where does it start My heart, your heart Where does it end, baby, where does it start
I’m choosy Yeah, you could choose me I’m alive and sleeping at the movies You’re a throwback Like the Amtrak Anywhere I’m at I know the trains are running Industry is humming God, it’s always something with you
My heart, your heart Where does it end, baby, where does it start My heart, your heart Where does it end, baby, where does it start My heart, your heart
Where does it end, baby, where does it start My heart, your heart Where does it end, baby, where does it start
Engineered by Chris "Gobo" Pierce at Technical Ecstasy in 2003 Mixed by Steve Albini at Electrical Audio in 2023 Mastered by Bob Weston at Chicago Mastering in 2023
Lyrics: Please don't turn on the TV Or open the paper ‘cause the chances of tragedy Are now part of the weather
I've got myself a notion To keep me safe for awhile I think I'm gonna go hide myself Behind hot water and tile
Every decade they say it's getting worse I don't know if it's true or a cynical curse But it's bearing down on me constantly And pretty soon now, I think it's gonna burst
I'm not coming out of the shower It's such a comfortable crutch It's a warm loving womb, an intoxicating tomb And I don't miss the outside world that much
Now all my harshest critics Are screaming for murder But I'm doing what we've done all along I'm just taking it one step further
I've always been a good American I drank a lot of soda and I didn't question In whose deft hand the grenade was in And now I feel someone is gonna pull the pin
Live your life in perpetual sun Flip me over at one Take me out when I’m done I won’t stop til I fit in a shape Til I walk with no wake Til I’m dreaming awake
Tried to get famous Stuck to the pavement
Ooh, I’m on fire Ooh, I’m on fire Ooh, I’m on fire Ooh, I’m on fire
Let life in and be sure to make space Take a piece from your face It can all be replaced I won’t stop til I’m queen of the hive It’s a half hour drive If I leave before five
I’ll take the crosstown I’ll keep the top down
Ooh, I’m on fire Ooh, I’m on fire Ooh, I’m on fire Ooh, I’m on fire
I need no atlas Streetview or Mapquest Cause whichever street I’m on, it’s a Strip mall with a nail salon (x4)
Live your life with the utmost of spice Strive for paradise But Tampa will suffice I won’t stop til I’m tan like a goddess Walk in like a closet No point being modest Ooh, I’m on fire Ooh, I’m on fire Ooh, I’m on fire Ooh, I’m on fire
There are moments burnt in my memory, places I’ve not been or ever seen. Like an ancient verse engraved in smooth limestone, illuminated slightly by the half-moon’s glow.
When I walk on broken ground there’s the sound of soft singing all around. Like every bending tree is whispering to me: as I am now someday you’ll be.
Time moves forward like a delicate stream I use to gaze at my reflection. But when days cascade over a waterfall, Will I even recognize myself at all?
When I walk on broken ground there’s the sound of soft singing all around. Like every bending tree is whispering to me:
DEAD BEST is the creative endeavor of life-long friends Adam Goren and Brian Sokel. Both are veterans of the Philadelphia music scene of the 90’s and 00’s. Goren cut his teeth in the punk band Fracture before earning fame as the human half of electronic/punk creative force Atom & His Package. Sokel was a founding member of the punk and dub blending band Franklin before forming AM/FM in the 2000’s.
Formed during the height of the COVID-19 pandemic, DEAD BEST was initially a home-recording project designed to pass time and release anxiety and frustration during lockdown. Now, in 2024, DEAD BEST returns with their next album, aptly titled “Second”, featuring 10-songs that merge searing post-punk abrasiveness with industrial precision and earnest lyrics. “Second” is a lightning fast, slightly unhinged affair that cements the band as a pummeling force to be reckoned with.
“Second” also sees the addition of drummer Michael Parsell to the band. Parsell was a member of the 90’s screamo band Frail and was also in AM/FM.
00:00 Two States 01:43 Mathman 04:29 What Do We Want? 06:11 Murderer 09:13 Greg? Is That Short For Grargaret? 10:42 Jack 12:17 (Esteemed, Clever & Popular) Roadkill 14:49 Nickels & Dimes 16:53 Ugly Kind People 18:33 Reddish Work
Everybody arms themselves like bastards Saying that they won’t become a hazard Guns on hands to make us faster Answering the questions that we should have mastered
Everybody wants to kill an asshole
Does a gun mean we’re scared and teething Or does a gun mean we’re afraid of seeing Does a gun correct an insult? Everybody wants to kill an asshole
And everybody with a gun they say they won’t be the one to die that way And everybody with a gun they say they won’t be the guy to be a murderer
Killing creation Murder this nation
Dillinger you’re a dangerous breed With a .45 clip and reason to bleed Dillinger you’re a dangerous breed Dillinger you’re making us bleed
Everybody wants to kill an asshole
Kill all creation Murder this nation
Ooh, and what are you gonna do? When the hammer falls upon you? And where are we gonna run? There’s gonna be nowhere to run When the bodies stack up one by one.
Peter Stampfel: The story of how we got together is a pretty cool story.
I was playing with John Cohen, Jean Scofield and some other people around 2006. I first heard John on the first New Lost City Ramblers album in 1958. We originally met in the ‘70s. When we got together again in the aughties, John was saddened by the loss of several close friends he had been playing with for decades.
I heard that Sam Shepard and family had moved to New York, so I called and asked if he wanted to come over and do some music. He asked, “Can I bring my kid?” and I said, “Sure”. I had read that he had two kids and they had all been living in Minnesota. Walker was the kid he brought, a 17-year old, a few months younger than my daughter Zoë. It turned out Walker had been playing banjo less than a year, and could do some stuff that I couldn’t and I’d been playing for almost sixty. If you’ve heard Patti Smith’s Smells Like Teen Spirit, that’s Walker on banjo.
Here’s where the cool part comes in: Walker had been learning a bunch of Roscoe Holcomb songs, and had an uncannily similar High Lonesome voice (yes, it’s a style) as Roscoe Holcomb. John Cohen was the person who found, filmed and recorded Roscoe Holcomb in Kentucky, in the late ‘50s. When John heard Walker singing Roscoe–– nailing Roscoe, actually––he was deeply moved.
Shortly afterwards, I met Eli Smith, who joined the band that had recently been joined by Walker and Sam. Walker had been playing with a fiddler named Craig Judelman at Bard, where they had been attending school. Eli joined them to form a trio, the Dust Busters, which ended up touring with John Cohen for several years. Both Eli and Walker, along with John, were more deeply into traditional music than I was. In the early ‘60s I became more interested in popular music than traditional, although my love of trad has remained strong, as this album attests.
Eli, Walker and John recorded with me as members of the Ether Frolic Mob, and Eli and Walker were also on Have Moicy! 2: The Hoodoo Bash. We have started work on another project: Let’s Swarm Smith! The Brooklyn, Lower Manhattan and Louisville Fiddle/Mandolin Swarm. Regarding Let’s Swarm Smith!––after seeing Jenny Scheinman perform her violin magic with Bill Frisell, I talked to her about that sound that happens when a minimum of three or even more violins play together. “Yes,” she said, “The Swarm. Like bees.” “Yes,” I said. “Perfect! That’s the word I’ve been looking for!”
Hence our albums Holiday for Strings, The Brooklyn and Lower Manhattan Fiddle/Mandolin Swarm and the upcoming Let’s Swarm Smith!, which will mainly be a trad-yet-modern take on the seven fiddle tunes on the Harry Smith Anthology, which to me remains the best collection of fiddle tunes I’ve ever heard. Seven songs were not enough for an album, so we will be rounding out Let’s Swarm Smith! with some cool surprises. This time around Walker could only squeeze in two days to record before he went back to Louisville, so next time we’ll be sure to block out at least a week for a more fine-tuned effort.
00:00 Crazy Arms 02:41 Bones Are Drones 05:05 Peyote Blues 06:24 Cluck Old Hen 08:46 Sweetest Mother 10:49 Wildernaut Rag 12:28 Slow Poison 16:00 New Turkey 17:51 Gimme That Old Time Religion 19:50 Sweet Sue 23:11 Lowlands 25:33 Picking Dandelions 28:19 There Stands the Glass 30:29 Banjo Frolic 32:10 Not Tonight Dear I Have An Earache 34:39 Devil In The OuthouseDead Best - Greg? Is That Short For Graragret? | Music VideoDon Giovanni2024-01-12 | Don't forget to subscribe for more great exclusive videos: http://bit.ly/1xR6CmV
Lyrics: I live love, with a set of steps by preemptively dead me. You get the same good jokes refined by time, singing productive punchline after productive punchline after productive punchline after productive punchline after productive punchline after productive punchline
Andrew Falkous has seen the future. He says, “Everyone is slightly older.” I’m workshopping teaching overreaching constantly, constantly ummm…. suuuure.
With uncertainty on the world’s end and predictability on mine, It firmly plants my face into the ground from wakey wakey time.
Hey! I need friends and request robot dogs per one of them.
Lyrics: They're already laughing Might as well join in I'll play the joker like they made me I've been the punchline For all to see Secretly saved by a melody
Caught in a moment A song in slow motion Over the radio waves Then came a voice Like tears of joy Over the radio waves
Under the spell of arena lights Refracted by kicked up clouds of dust Sweat on my brow Paint in my eyes Watching the cowboys riding by
Caught in a moment A song in slow motion Over the radio waves Then came a voice Like tears of joy Over the radio waves
Off on the side there's a medic standing by 1000 pairs of eyes trained on me From the speakers through the air A country song blares And I'm just lifted away
Caught in a moment A song in slow motion Over the radio waves
Yippie kiyayay the cowboys ride away
Producer: Andrija Tokic Engineers: Andrija Tokic & Jack Tellman Mastering Engineers: Drew Carroll Drums, Electric Guitar & Background Vocals: Aaron Lee Tasjan Bass: Jack Lawrence Vocals, Piano & Organ: Paisley Fields Written by: Paisley Fields & Aaron Lee Tasjan Directed & Filmed by: Kate Sweeney Editor: Emma Callahan Additional Camera: Blake Andrews Color Correction: Jared Melman Special Thanks: Kelli Kalikas, Quinn McDonald, Liz Luchjeko, Steve Williams Record Label: Don Giovanni Records Management: Autumn Binion Photography: Megan Rainwater Styling: Paolo Raymundo
Donahue - June 13, 1990 with Luther Campbell (2 Live Crew), Jello Biafra (Dead Kennedys), Wendy O Williams (Plasmatics), Mike Muir (Suicidal Tendencies).
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They're forbidden in Florida and taboo in Texas, but the leader of the 2 Live Crew was welcomed Wednesday for a fiery, foul-mouthed defense of their salacious million-selling album "As Nasty As They Wanna Be."
Luther Campbell, the front man for the Florida band, first went on the offensive during a taping of the "Geraldo" show. The rapper cursed at the sheriff who arrested him and questioned the credentials of the sheriff's legal adviser.
"He hasn't given more to the black community than I have," Campbell said of the adviser, then ripped into Broward County Sheriff Nick Navarro, who was also on the show.
He then headed from the Times Square taping to Rockefeller Center for a live bit on the syndicated "Donahue" show, where he was joined by previously censored performers Jello Biafra and Wendy O. Williams.
"I'm a little sick of the system," said Williams, who once wore only electrical tape above her waist at a show. "What are we going to do next? What's Luther going to do next? What's Jello going to do?"
Campbell kept it clean for "Donahue," although Bob DeMoss - director of the conservative Focus on Family - stunned Phil with an expletive that was heard in some markets where the show is broadcast live.
"I'd like to keep this job," Donahue said in asking his guests to calm down. DeMoss, sitting sheepishly, later apologized.
The two TV appearances should keep fueling sales of "As Nasty As They Wanna Be," which are fast approaching the 2 million mark. A federal judge in Florida last week declared the album obscene. His jurisdiction is limited to three south Florida counties. San Antonio store owners pulled the record from shelves this week after they were threatened with arrest.
Campbell and two other members of the band were arrested Sunday following a live show at a Florida club. While the judge has called the Crew's album obscene, Campbell and his supporters claim First Amendment protection and suggest they are victims of racism.
"A white man can say anything. How about Dice Clay?" Campbell asked of comedian Andrew Dice Clay, whose material has been criticized for slurs against women and gays.
Lyrics: Mopping up beer at the end of the year I was crushing through the holiday rush I was feeling alone with no direction to go in But I thought the only way left was up And the little I’d saved making minimum wage Was just enough to blow on rent each month So I’d work til I’d sleep and I’d sow what I’d reap And I wouldn’t care if it felt punk But it wasn’t enough
Now would you believe that come New Year’s Eve I was desperate for getting free Cleaning literal shit from a dive bar toilet And ringing in 2019 On the bike ride home I made a wish that I’d only Find someone who believed in me As I dodged the drunk drivers and the champagne imbibers In the streets of the capitol city I wished that love would find me But it’s never that easy
Do you believe that there’s some reprieve? Do you believe that it gets easier? I wanna see if there’s sun beyond the horizon But I don’t know it I’ll ever get there
Do you believe that there’s some reprieve? Do you believe that it’ll be OK? I wanna find sun beyond the horizon But I don’t know, I don’t know
Now all the cards say around the holidays That you’re blessed if you believe in a myth But I saw the light on that cold lonely night In the glow of one incredible kiss But like a candle to wind as the glow turned dim I couldn’t look at it with any wonder For the sum of the living and the inevitable dimming It won’t kill you and it won’t make you stronger And you’ll never get younger But the days will get longer
Do you believe that there’s some reprieve? Do you believe that it gets easier? I wanna see if there’s sun beyond the horizon But I don’t know it I’ll ever get there
Do you believe that there’ll be relief? Do you believe that it’ll be ok? I guess we’ll find out, but I have my doubts It’ll come before the end of my days
Having met as teenagers touring the late-‘90s North American post-punk scene, guitarist/vocalist Sean Madigan Hoen and drummer Dan Jaquint established an ongoing musical collaboration that for years remained a mostly-private endeavor relegated to cassette-only releases. After living together in Brooklyn, the duo found themselves returning to their home state of Michigan in 2018 where they reconnected with Detroit’s music scene and formed KIND BEAST.
Taking its name from the writing of Carl Jung, KIND BEAST is at once a distillation of several decades of electric guitar music and a lyrical exploration of shadow themes and deep-psyche explorations. Described by NPR affiliate WDET as “perfect for late-night freedom cruising on the outskirts of town,” the music is sophisticated and nocturnal, metabolizing ‘70s arena rock and Krautrock as readily as the post-Fugazi cannon on which its members were raised. What commences is a vast blending of rock swagger infused with a distinctly-Detroit eeriness, set to Hoen’s (a widely-published author) imagistic lyrics.
Joining Hoen and Jaquint are bassist Sean Bondareff (known for a fifteen-year stint with Mitch Ryder and The Detroit Wheels) and guitarist Martin Rodgers, fifteen years younger than the other members and who has made a name for himself as one of Detroit’s most talented guitarists. KIND BEAST pays little homage to Hoen and Jaquint’s teenage bands (Thoughts of Ionesco and Small Brown Bike, respectively) and finds itself most often compared to mature constituents of the rock/pop pantheon such as Arctic Monkeys, Spoon, and Queens of the Stone Age while discerning listeners pinpoint a deeper influence of the great indie labels of yore (Touch and Go; Dischord).
00:00 The Future Is Fine 04:10 Pull Your Stunt 08:35 Ride The Snake 11:41 Cry Without Shame 15:15 Take A Shine 20:54 No More Blues 26:06 Highway Madness 29:53 Up Your Spine 34:19 Fresh Hell 38:02 The Strange Hours
You have the strength You have the heart To cry without To cry without shame, let it rain
‘Cause I know a place Where we won’t object to anything, any of this We’ll open our arms To all that’s happened and all that is happening We’ll say, “Yes”
You have the strength You have the heart To cry without To cry without shame, let it rain
‘Cause I know a place Where we won’t object to anything, any of this We’ll open our arms To all that’s happened and all that is happening We’ll say, “Yes”
Because there is no forgetting There’s no severance There’s only integration of all that was, all that is
And to that I’ll say, “Yes” And to that we’ll say, “Yes”
Cry without shame, let it rain And to that we’ll say, “Yes” Cry without shame, let it rain
Music video for "Fentanyl" from the upcoming album "No Hard Feelings." Produced & engineered by Hugh Pool at Excello studio in Greenpoint, Brooklyn. Music & lyrics by Emily Frembgen Directed and edited by Clare O'Kane Produced by Kate Sweeney Cinematography by Johnny Frohman Assistant Camera Jack Mannion Color Correction Jared Melman
Lyrics: Two years of doing nothing makes everybody crazy and I’ve never spent so much time in bed and every time I see somebody I’d rather be alone and when I’m alone I go thru everything that we said
There’s something that divides us, there’s always a wall two years of doing nothing, fentanyl
My friend sent me a picture of his head in stitches yesterday and I didn’t know the appropriate thing to say the words coming out of my mouth taste like rubber when I’m spitting them out and I forgot what I was talking about
There’s something that divides us, there’s always a wall two years will make you crazy, fentanyl
And if you’re comin’ back this way, don’t bother to call
Jody Stecher continues his long colorful musical career with a new bluegrass-style album featuring 8 of his own songs plus 4 old favorites that are given a bluegrass setting. Jody’s music has strong traditional “old school” elements so it might surprise some that his first choice for support musicians was Mile Twelve which calls itself a “modern string band”. They recorded together just after Jody’s 77th birthday. It was a perfect fit.
Bluegrass Unlimited founder Pete Kuykendall, moved by Jody’s emotive singing, gave him the nickname “Instant Lonesome”. Such singing is plentiful on Mile 77 along with duet, trio and quartet harmonies from the members of the band, and memorable instrumental solos and backup.
00:00 Geronimo’s Cadillac 03:57 When The Wind Comes Up 06:34 The Weight Of The Years 10:11 Jones Mill 13:39 Kaiser Bill 16:14 The Only Sunshine 20:01 John-John 22:22 Hannahmariah 24:14 How Sweet I Roamed 26:29 On The Way To Gettin’ There/ The 7th Pterodactyl 31:20 Second Sail 34:39 Hoppin’ John
Edited by Paula Moura Additional animation by Pedro Moura Additional footage by Jeremy Michael Clark, Patrick Hague, George Pauley Illustrations by Samuel Cormac
Lyrics:
war poems, we rested with eyes like tombs of static an archer loose in traffic we pronounce the darkness a gazing ball for all this victim or volunteer for all this victim or volunteer we didn’t wait for a chance to break the ice was pure to move on a body of words anointed pure to drink the sun as we have done (eyes like tombs of static, an archer loose in traffic).
Long time friends Atom Goren and Brian Sokol took parallel paths through the Philadelphia punk scene of the late 90s and early 2000s. While Sokol brought riffs to the dub and hardcore blending Franklin and provided guitars to AM/FM, Goren was playing in punk bands Fracture and Armalite, and most notably exploring the use of sequencers in his eccentric solo project Atom and His Package. Though the two had been close since childhood and shared space in the scene, their collaborative work was limited to a few minor instrumental appearances on each other’s projects.
Dead Best’s second album, aptly titled Second takes the raw expressions of two punk veterans and refines them into ten ripping tracks. Exhuming deep anxieties through pummelling guitars and frantic, distorted vocals, the LP is a brief but clear profile of Goren and Sokol’s combined creative voice.
I Won’t Cry Alone is the seventh full-length release from Roadside Graves. In 2011, the band released We Can Take Care of Ourselves, based on S.E. Hinton’s classic novel The Outsiders. During the heart of the pandemic, the band collaborated remotely and again returned to Hinton’s writing for inspiration, this time drawing from her more painful and surreal book Rumblefish. I Won’t Cry Alone mashes up narrative features of the book with morbid and almost-triumphant personal experiences. The song “Closure” introduces a third element, intertwining these threads with bits from the tragic lives of songwriters Jackson C. Frank and Sandy Denny (a third verse on Kirsty MacColl was written but ultimately left out). The album was recorded, mixed, and mastered by Derril Sellers (Lowlight, Last Legs) and Rob Lombardo (Mon Goose) at Cako Studios – a mighty and beautiful studio located in a repurposed church – and features contributions from Dana Sellers (piano, vocals) and Eric Haugen (pedal steel). Cover art drawn by Joe Galuppo. Roadside Graves are educators and an environmental scientist and a tech guru who hail from all over New Jersey with one stray up in Providence, RI. They’ve been a band for 25 years and have no intention of ever stopping because why not.
00:00 Closure 05:59 We're Not Here 09:35 Fight Clean 12:43 Steve's Song 15:36 Feel Everything 20:17 Here For The Lights 24:53 Patty's House 28:01 Long Death 31:23 If You Know Where To Look 34:57 Nothing Happened
Directed and Filmed by: Tadin Brego Edited By: Derek R. Brigham
Lyrics:
Tell me it’s not over Tell me not to stop Cuz I don’t think that I have had enough Sorry if I’m awkward, tell me that I’m not Cuz we still have time to fuck this up.
It’s like I’m breathing under water When everything’s still at the start But I can fumble around forever If it means this feeling never stops.
I want to dive into you I wanna do everything you do Cuz you make me feel like new Take me home, I wanna get off
Tell me it’s not over Tell me not to stop Cuz I don’t think that I have had enough Sorry if I’m awkward, tell me that I’m not Cuz we still have time to fuck this up.
I can’t find the words to fill in Every single pause just sets me off I get stuck in my head and I’m spinning When I’m overwhelmed does it turn you on?
I wanna go down with you Dizzy in my head do you feel it too? Unravel my life for you Take me out, I wanna get off.
Tell me it’s not over Tell me not to stop Cuz I don’t think that I have had enough Sorry if I’m awkward, tell me that I’m not Cuz we still have time to fuck this up. Yeah we still have time to fuck this up.
Feel it like a head rush Everytime our paths cross I can let it all just swallow me I’ll drown out all the sound Like there’s no one else around In my head it’s just you all over me And I can’t make it stop You’re in every single thought Is it obvious And can’t you see? I have to admit I’m letting it slip Cuz crushing on you has been crushing me.
Tell me it’s not over Tell me not to stop Cuz I don’t think that I have had enough Sorry if I’m awkward, tell me that I’m not Cuz we still have time to fuck this up.
Tell me it’s not over Tell me not to stop Cuz I don’t think that I have had enough Sorry if I’m awkward, tell me that I’m not Cuz we still have time to fuck this up.
Yeah we still have time to fuck this up. Yeah we still have time to fuck this up.
This is what’s— This is what’s on my heart What’s on my heart But you want— You want the fireworks, you want the fireworks Could we not settle for a match in the dark? This is what’s— This is what’s on my heart, this is what’s on my heart
Come on, now Switch yourself on To what distance are you prepared to carry the fire?
Hit me right— Right across the eyes, hit me across the eyes I won’t lie— Love that with all my heart, with all my life Wake up, we’re blind Hit me right— Right across the eyes, hit me across the eyes
Come on, now Switch yourself on To what distance are you prepared to carry the fire? Come on, now Switch yourself on To what distance are you prepared to carry the fire?
She says, “You know, the future’s just fine.” Roll it out like an endless summer night The future’s just fine Roll it out like an endless summer night The future’s just fine Roll it out like an endless summer night
Jody Stecher continues his long colorful musical career with a new bluegrass-style album featuring 8 of his own songs plus 4 old favorites that are given a bluegrass setting. Jody’s music has strong traditional “old school” elements so it might surprise some that his first choice for support musicians was Mile Twelve which calls itself a “modern string band”. They recorded together just after Jody’s 77th birthday. It was a perfect fit.
Bluegrass Unlimited founder Pete Kuykendall, moved by Jody’s emotive singing, gave him the nickname “Instant Lonesome”. Such singing is plentiful on Mile 77 along with duet, trio and quartet harmonies from the members of the band, and memorable instrumental solos and backup.
Lyrics: And the bad moon gets raised Sure enough, indeed Cover up the mirror, and burn your sage Don’t leave the apartment till… The light of day, the light of day ‘Cause tonight’s not safe… No way
But who's to say That’s it’s so wrong to crave? Why don’t we do it our own way? ‘Cause you know, what matters most Is how we skate the ice How we catch the wave… The wave
And ride the snake [so far from this lonely place] Ride the snake [so far from this lonely place]
‘Cause I still feel amazed That video you made, it said everything Without words, of course But I think I got the theme: Yin and yang, light and shade The holy, the depraved— We be one in all the same
Ride the snake [so far from this lonely place] Ride the snake [so far from this lonely place]
The everlasting gaze… It’s coming into phase [so far from this lonely place]
Ride the snake [so far from this lonely place] Ride the snake [so far from this lonely place]
00:00 Supertrans 01:03 Takeaway 03:35 Doctor 06:24 Getting Bitter 08:36 Melodrama 10:34 Good Time 12:44 Sights Down 15:33 Armageddon Now 18:31 Say It 20:54 Travelin' On 23:26 Cut The Ties 25:14 Lights Out 27:16 Oh The Drama
00:00 Pissing In A Wishing Well 03:51 Changes 06:54 At The Roadside 12:34 Organized Crime 16:10 Dusk 19:40 Incredible Edible Egg 23:04 Don't Let Them Tell You 28:26 Gold Blue & Grey 35:15 Be Nice To Me All Day Long
Lyrics: Life for me is just melodrama Life’s a simulation in a diorama It’s meta to say that for a matter of fact Taking chances trying to believe you Honest with my words trying not to redo Choose to say it all Pick me up when i fall
Keep my brain intact It's all a fake act So I'll leave
Finding myself constantly denying That I overthink things without even trying Pushed against the wall, when I could’ve had it all When your mind thinks always ‘bout survival Anticipatory before your arrival Tension gets the best, and you get all the rest
Who am I foolin’? Will I lay down? You’re not nonexistent You’re a proper noun
In the mid 60s John Armstrong was playing guitar, writing songs and was the founding member of the Albuquerque rock band The Sidewinders. John's Dad was a music teacher and John met one of his students, Mike Norris, and that was the foundation of the group. Singer Randy Duran joined the group and Jack Paden jumped on board. Tom Popejoy was a college student that played some guitar and John Armstrong asked him to try and switch to bass. It worked and the band practiced and played local parties. They all joined in on writing songs hoping to record their creations. John Wagner was striving to become successful in the recording world and heard the group and started to produce them as the Sidewinders. A 45rpm release on Look Records out of Nashville was their first record. It was a cover of "Get Out Of My Life Woman."
The group was rapidly moving towards original songs based on the skills of John and Mike Norris. It was decided to rename the group The Berwick Players and they recorded original songs and had several releases on Look. Moving into the 70s the group effort came slowly to a standstill. Members moved and the group effort ended like so many band experiences.
00:00 Crystal Light Of Reason 02:51 Gold Fever 04:35 Jenny's Lost Her Way 06:18 Lead Me To The Sparkling Waters 08:56 Like A Rolling River 11:15 Patricia 13:14 Polygreen 15:39 Quite Like A Frog 17:45 Red Sun Shining 20:48 The Rain