He does a great guitar lesson for how to play this song, and he even sounds like Jim Croce singing while he plays.
Much respect also to this guy covering it on 12-string guitar:
He does a great guitar lesson for how to play this song, and he even sounds like Jim Croce singing while he plays.
Much respect also to this guy covering it on 12-string guitar:
There was a musical variety show for hipsters called NIGHT MUSIC somewhere around ’89 through ’90. I can’t remember if this was syndicated or if it was an NBC show that was on after SATURDAY NIGHT LIVE (which I rarely watched after 1991). Anyhow, at this point when alternative rock music was still not heard much on the radio and the mainstream explosion of Nirvana was still a ways off on the horizon, there were some rock groups that fit pretty well into a line-up that included jazz players, old blues musicians, and artsy experimentalists. The never mainstream Pere Ubu was at their most mainstream right then, and showed up in an episode that I missed at the time. This is a pretty catchy song for such a weird band, and they perform it well. The singer’s stomping of invisible, imaginary bugs is a hoot.
To the best of my knowledge, Guadalcanal Diary never showed up on NIGHT MUSIC, but they should have. By the late ’80s there were a number of alternative jangle bands like The Katydids, Let’s Active, and the sometimes philosophical Guadalcanal Diary, named for some reason after the movie and novel that documented one of the U.S. Marine Corps’ key moments in WWII. All of these bands were at least as good as R.E.M., with mostly better vocalists, and without the self-pity tendencies that sometimes brought down The Smiths. Some people claim that this song was borrowed heavily in another song by country mega-band Alabama, but I haven’t explored that and have no opinion.
This is just creative filmmaking. The barrage of images, almost connected like a story, colors, camera movements, some of it animated and some of it practical, and the images make subtle connections with the lyrics. And the song is seriously catchy too. I haven’t looked up who made this video but, wow, it is amazing.
And just for absurd, Willy Wonka-ish fun, there is this:
I was obsessed with Led Zeppelin from 8th grade through 10th grade, still enjoyed it afterwards, and developed an appreciation for singer Robert Plant’s solo material. Now and Zen made a big mainstream impact in 1988, and I loved Manic Nirvana in 1990, not so long before a band named Nirvana brought the hair metal era to a close.
1985’s Shaken ‘n’ Stirred was known as the bargain bin album that carried within it the somewhat eerie radio track “Little by Little.” I admit that I hated this album when I first heard it in mid-9th grade . . . and by somewhere around the end of 9th grade I absolutely adored it. It was dense, it was weird, time signatures and song structures were unpredictable, but once my brain unlocked this little package of oddness, it was one of my all-time favorites.
Robert Plant’s solo material has been a worthwhile thing all on its own and I was a fan (even seeing him in concert in fall 1990), so how did I avoid hearing his debut album Pictures at Eleven for all these years? All I know is that I can’t get enough of the opening track:
Shostakovich’s waltz from the previous post has been given some cinematic glory, especially from the visionary Stanley Kubrick. Over a decade before, the visionary David Lynch had TOTO keyboardist David Paich compose the score for his epic adaptation of Frank Herbert’s Dune (a project that Lynch had tremendous enthusiasm for, despite his later disowning it). As Paich remembered, Lynch had Shostakovich’s 11th Symphony in mind for the kind of music he wanted for his film. As this track demonstrates, Paich and his bandmates ran with that influence and achieved a beautiful result:
Bach’s St. Matthew Passion thematically flows right along to the best Medieval prog rock song ever, and perhaps the only Medieval prog rock song ever. This is “Triptych” by Roxy Music, and it’s truly extraordinary that something like this ever came out of popular music:
And yesterday’s Bach through the filter of jazz leads to Bach through a solo piano lens. This is the introduction to Bach’s St. Matthew Passion, a few days late, I regret to say. (But, nonetheless, Happy Easter!) Mr. Harry Volker does the honors, very nicely:
So here’s an easy transition, from one Can song to another. But this live version of “Dizzy Dizzy” from a German TV performance doesn’t exactly sound like “Dizzy Dizzy” and it’s been argued that it’s actually “Animal Waves.” I suspect that it’s some strange hybrid that this frequently improvising band worked out at some point, and it ended up being recorded here.
Yesterday’s bird looked an emperor, but today’s is officially a lieutenant.
I hope that the elderly lady’s witch hat did not cause any moral panics on satanism and the effect of rock music on the elderly.
Continuing from the previous Bryan Ferry video is this far more creative one. Mr. Ferry was still going through his beard phase here, while the video is loaded with futurist imagery that also looks a little fascist.
But the real reason to watch is the star of the video, an unnamed eagle that sits on a perch, observing all around it with withering scorn. The makers of the video must have realized what kind of effect it would have, because it eventually gets projected onto the U.S.S. Enterprise viewscreen behind the singer, making its imperious dominance of everything it surveys even greater.
Seriously, this eagle should have had its own TV show.