Let's kick off Monday with this vintage 1983 anarchic comedy, a cover of The Who's "My Generation" by Rik Mayall and the Bastard Squad.
In 1983, Rik Mayall, already a rising star in British comedy, decided to team up with a group of punk musicians to form a band called The Bastard Squad. The idea was born out of Mayall's desire to blend his anarchic comedy with the raw energy of punk music, creating a performance that was as chaotic as it was entertaining. The band quickly became a vehicle for Mayall's sharp satire, and their cover of The Who's "My Generation" became a perfect fit for their rebellious spirit.
When they took the stage to perform "My Generation," Mayall was at his most ferocious, channeling the frustration and anger of a youth culture that felt ignored by the establishment. His delivery was electrifying, and the band’s raw sound amplified the song's original message of youthful defiance. The audience, already fans of Mayall’s comedic anarchy, was swept up in the chaotic energy, making it a performance to remember.
What made this cover stand out was Mayall's ability to infuse his comedic persona into the song while maintaining its rebellious edge. His exaggerated movements and facial expressions added a layer of satire that both mocked and celebrated the angst of the generation the song spoke to. The performance was a collision of comedy, punk, and rock ‘n’ roll, capturing the essence of Mayall’s unique style.
Mayall's style in the video, reminds me of The Damned's Captain Sensible :）
THE PAINS OF BEING PURE AT HEART are reforming for a 2025 tour that celebrates the 15th anniversary of their debut album. The Lineup will be Kip Berman, Peggy Wang, Christoph Hochheim, and Kurt Feldman, which will be that specific lineup's first shows together since 2012. The last TPOBPAH show of any kind was in 2018.
Kip says: “To celebrate the 15 year anniversary of our debut album, we’ll be touring Spain + Portugal in February/March 2025. Yeah, we know it’ll actually be 16 years by then, but… The Pains of Being Bad at Math.”
So far, those are the only dates. “I don’t know if we’ll be doing more (or less) of this in the future,” says Kip. “But for right now, we’re all excited to get this chance to be together and play these songs that, quite literally, changed our lives.”
The indie pop quartet from New York visited Indonesia in March 2012 and performed at Balai Sarbini in Jakarta; will they return? Hopefully.
The music video here, TPOBAH performing "Young Adult Friction" live at Pitchfork Music Festival in 2009.
Ever wonder what it would have been like if Johnny and June Cash were backed by the Cramps? If Conway Twitty and Loretta Lynn toured with the Ventures? If Link Wray and Amy Winehouse fell in love, started a band and everything they put out sounded like it was for a new Quentin Tarantino movie?
Hello Monday. Good morning Andrea & Mud. Take it easy, sleazy, and greasy :)
Video: @bopflix.
Weekend's here. Stoked for some space truckin' stoner rock? Well, then, welcome to the Sky Valley!
Considered as one of the pioneers of stoner rock, Kyuss formed in 1987 under the name Katzenjammer (German slangword for "hangover") before eventually deciding upon Sons of Kyuss. In 1989 the band recorded their eponymous debut EP, Sons of Kyuss (Josh Homme was only 17!). When Nick Oliveri joined the band, their name was shortened to Kyuss.
Kyuss' first line-up consisted of guitarist Homme, bassist Oliveri, vocalist John Garcia, and drummer Brant Bjork. The band gradually built a local following in Palm Desert, California, and frequently performed at parties in and around the isolated towns of Southern California's desert areas. These impromptu and predominantly outdoor shows, referred to locally as "generator parties", consisted of small crowds of people, beer drinking, and the use of gasoline-powered generators to provide electricity for the equipment. Homme commented that playing in the desert "was the shaping factor for the band" noting that "there's no clubs here, so you can only play for free. If people don't like you, they'll tell you. You can't suck."
Kyuss released several critically acclaimed albums, including 𝘉𝘭𝘶𝘦𝘴 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘙𝘦𝘥 𝘚𝘶𝘯 (1992) and 𝘞𝘦𝘭𝘤𝘰𝘮𝘦 𝘵𝘰 𝘵𝘩𝘦 𝘚𝘬𝘺 𝘝𝘢𝘭𝘭𝘦𝘺 (1994), which are often cited as seminal works in the stoner rock genre. Despite never achieving mainstream success during their initial run, Kyuss developed a dedicated cult following.
Members of Kyuss went on to form or join other influential bands, most notably Homme, who founded Queens of the Stone Age. The band's use of low tunings and unconventional recording techniques contributed to their distinctive sound, inspiring many bands in the stoner, doom, and sludge metal genres.
The video here via f3r0m0n/YouTube, Kyuss performing "Hurricane" live at Bizarre Festival in Cologn
Kim Deal turned 63 today.
Deal carved her niche in the alternative rock scene as the bassist for the Pixies and later as the frontwoman for the Breeders. Born in Dayton, Ohio, Kim and her identical twin sister Kelley were introduced to music at a young age; they grew up listening to hard rock bands such as AC/DC and Led Zeppelin. A friend of Kelley's living in California sent the Deals cassettes of artists such as James Blood Ulmer, the Undertones, Elvis Costello, Sex Pistols, and Siouxsie & the Banshees. "These tapes were our most treasured possession, the only link with civilisation," Kim later recalled.
In 1986, Kim joined the Pixies, contributing her distinctive bass lines and vocal harmonies to their groundbreaking sound. The Pixies' rise to fame was swift, and Kim's presence became integral to the band's dynamic, especially on iconic tracks like "Gigantic", where her voice took centre stage.
After leaving the Pixies in 1993, Kim focused on the Breeders, a project she had started with Kelley. Their album 𝘓𝘢𝘴𝘵 𝘚𝘱𝘭𝘢𝘴𝘩 achieved critical acclaim, with the hit single "Cannonball" propelling them into the mainstream.
In 1995 Kim formed the Amps under the sobriquet "Tammy Ampersand". Their lone album, Pacer, was generally well-received but sold poorly. She also produced music for other groups, most notably fellow Dayton band Guided by Voices.
Kim has contributed her voice to numerous projects, including This Mortal Coil's 1991 version of Chris Bell's "You and Your Sister" (a duet with Tanya Donnelly); the 1995 Sonic Youth single "Little Trouble Girl"; and the For Carnation's "Tales (Live from the Crypt)" in 2000.
In 2018, the Breeders released their fifth album All Nerve, the first album to reunite the Deals, Wiggs, and Macpherson since 𝘓𝘢𝘴𝘵 𝘚𝘱𝘭𝘢𝘴𝘩.
When asked if she had a "gay bone" in her body, Kim responded with "You know what? I'm just so ...asexual, I wish I had a gay bone."
I saw the Breeders in
Last night at Hammersonic Fest, I was pretty amazed by Madball, a New York Hardcore legend. Straight, solid, larger-than-life energy. A great way to spend a Saturday night: metallic and frantic.
But this Sunday morning, I'd like to talk about something more chill, soothing, sensual, and still related to New York: the Chelsea Hotel.
Leonard Cohen wrote a song about it titled "Chelsea Hotel #2". He used to stay there while away from his home in Montreal. The song describes how he met Janis Joplin, and how their meeting turned into a sexual relationship.
As the story goes, Joplin came to the hotel looking for Kris Kristofferson. When she joined Cohen in the elevator, the infamous casanova decided to tell Joplin that he was the Highwayman. “She wasn’t looking for me; she was looking for Kris Kristofferson; I wasn’t looking for her; I was looking for Brigitte Bardot,” Cohen once told 𝘙𝘰𝘭𝘭𝘪𝘯𝘨 𝘚𝘵𝘰𝘯𝘦. “But we fell into each other’s arms through some process of elimination.”
Their affair was brief. The next morning, Joplin went on to find Kristofferson and record arguably her biggest hit, “Me and Bobby McGee.” The pair would only meet a handful of times after that.
The video here via Ladies Who Sing Leonard, Sophia Tuv gorgeously covers "Chelsea Hotel #2".
𝘐 𝘳𝘦𝘮𝘦𝘮𝘣𝘦𝘳 𝘺𝘰𝘶 𝘸𝘦𝘭𝘭 𝘪𝘯 𝘵𝘩𝘦 𝘊𝘩𝘦𝘭𝘴𝘦𝘢 𝘏𝘰𝘵𝘦𝘭
𝘠𝘰𝘶 𝘸𝘦𝘳𝘦 𝘵𝘢𝘭𝘬𝘪𝘯𝘨 𝘴𝘰 𝘣𝘳𝘢𝘷𝘦 𝘢𝘯𝘥 𝘴𝘰 𝘧𝘳𝘦𝘦
𝘎𝘪𝘷𝘪𝘯𝘨 𝘮𝘦 𝘩𝘦𝘢𝘥 𝘰𝘯 𝘵𝘩𝘦 𝘶𝘯𝘮𝘢𝘥𝘦 𝘣𝘦𝘥
𝘞𝘩𝘪𝘭𝘦 𝘵𝘩𝘦 𝘭𝘪𝘮𝘰𝘶𝘴𝘪𝘯𝘦𝘴 𝘸𝘢𝘪𝘵 𝘪𝘯 𝘵𝘩𝘦 𝘴𝘵𝘳𝘦𝘦𝘵
On this date in 2010, Captain Beefheart died from complications from multiple sclerosis. He was 69.
Born Don Glen Vliet in Glendale, California, stands as a monumental figure in the music industry, celebrated for his avant-garde approach and influential style. His work, particularly with his band Captain Beefheart and His Magic Band, pushed the boundaries of rock music, introducing elements of free jazz, blues, and the avant-garde. His 1969 album 𝘛𝘳𝘰𝘶𝘵 𝘔𝘢𝘴𝘬 𝘙𝘦𝘱𝘭𝘪𝘤𝘢, produced by Frank Zappa, is often cited as one of the most significant examples of experimental rock.
Beefheart's influence extends beyond his musical output. He is revered for his distinctive voice, often compared to Howlin' Wolf, and his commanding stage presence. His lyrical themes, infused with surrealism and dadaist humor, set him apart from his contemporaries. Artists across various genres cite Beefheart as an influence, including Tom Waits, The Clash, Public Image Limited, The Kills, Sonic Youth, Talking Heads' David Byrne, Blondie, Devo, the B-52's, Throbbing Gristle's Genesis P-Orridge, and many more.
"If there has ever been such a thing as a genius in the history of popular music, it's Beefheart. A psychedelic shaman who frequently bullied his musicians and sometimes alarmed his fans, Don somehow remained one of rock's great innocents," said John Peel.
The video here via Mr Kleeg/YouTube, Captain Beefheart performed "Click Clack" live at 𝘉𝘦𝘢𝘵-𝘊𝘭𝘶𝘣, a West German music programme, broadcasted from Bremen, April 1972.
It's always a good idea to engage with introspective folk on a Sunday.
Hailing from Seattle, Fleet Foxes first emerged in the mid-2000s, resonating with a unique blend of earthy harmonies and complex, yet accessible, songwriting. Formed by Robin Pecknold and Skyler Skjelset, the band's roots were planted in their mutual appreciation for eclectic musical influences, ranging from Bob Dylan to Brian Wilson. Their early days were marked by a fusion of folk and baroque pop, crafting a sound that stood out in Seattle's diverse music scene. As they honed their craft, their songs began to reflect a deep reverence for nature and a penchant for introspective lyrics.
The release of their eponymous EP in 2006 and the 𝘚𝘶𝘯 𝘎𝘪𝘢𝘯𝘵 EP in 2008 garnered critical acclaim, setting the stage for their breakthrough with the debut album 𝘍𝘭𝘦𝘦𝘵 𝘍𝘰𝘹𝘦𝘴 in 2008. This album, with its lush harmonies and rich instrumentation, was a breath of fresh air in the independent music scene. Tracks like "White Winter Hymnal" and "Blue Ridge Mountains" showcased their ability to weave intricate vocal harmonies with storytelling that was both poetic and personal.
Their subsequent albums, including 𝘏𝘦𝘭𝘱𝘭𝘦𝘴𝘴𝘯𝘦𝘴𝘴 𝘉𝘭𝘶𝘦𝘴 in 2011 and 𝘊𝘳𝘢𝘤𝘬-𝘜𝘱 in 2017, saw the band evolving their sound and experimenting with more complex structures and themes. These records delved deeper into existential questions and emotional landscapes, reflecting the personal growth and changes within the band.
The song here, Fleet Foxes performing "If You Need To, Keep Time On Me" (from 𝘊𝘳𝘢𝘤𝘬-𝘜𝘱) at Sydney Opera House in August 2017.
So looking forward to embrace my Dylan x Young's side and to get folksy tipsy with Fleet Foxes at JOYLAND FESTIVAL on Saturday, 25 Nov 2023.
PS: Dontchu love the song title? It's so Morrissey-esque!
This month in 1987, Morrissey was in Somerset, England, at the Wool Hall studio to record his seminal studio album, his solo debut: 𝘝𝘪𝘷𝘢 𝘏𝘢𝘵𝘦.
It was released in March 1988 by HMV, six months after the final recording by The Smiths, 𝘚𝘵𝘳𝘢𝘯𝘨𝘦𝘸𝘢𝘺𝘴, 𝘏𝘦𝘳𝘦 𝘞𝘦 𝘊𝘰𝘮𝘦.
𝘝𝘪𝘷𝘢 𝘏𝘢𝘵𝘦 had commercial success; it was certified gold by RIAA (sold more than 500,000 copies) in November 1993, indicating that Moz's appeal wasn't just tied to The Smiths. It reached number one on the UK Albums chart.
𝘙𝘰𝘭𝘭𝘪𝘯𝘨 𝘚𝘵𝘰𝘯𝘦 called 𝘝𝘪𝘷𝘢 𝘏𝘢𝘵𝘦 "a tight, fairly disciplined affair", in comparison of its sound to that of The Smiths. While 𝘗𝘪𝘵𝘤𝘩𝘧𝘰𝘳𝘬 tagged it as "one of Morrissey's most interesting records, and certainly his riskiest", and that its "strange mix of pomp and minimal languor makes 𝘝𝘪𝘷𝘢 𝘏𝘢𝘵𝘦 the only Morrissey LP you'd consider listening to just for its music."
𝘝𝘪𝘷𝘢 𝘏𝘢𝘵𝘦 was listed by 𝘘 as one of the top 50 albums of 1988. The album was also included in the book 1001 𝘈𝘭𝘣𝘶𝘮𝘴 𝘠𝘰𝘶 𝘔𝘶𝘴𝘵 𝘏𝘦𝘢𝘳 𝘉𝘦𝘧𝘰𝘳𝘦 𝘠𝘰𝘶 𝘋𝘪𝘦.
The video here via Journeyman461/YouTube, Moz performing one of his most popular songs, the lead single from 𝘝𝘪𝘷𝘢 𝘏𝘢𝘵𝘦, "Suedehead", at 𝘓𝘢𝘵𝘦𝘳... 𝘸𝘪𝘵𝘩 𝘑𝘰𝘰𝘭𝘴 𝘏𝘰𝘭𝘭𝘢𝘯𝘥 in 1992.
On this date in 1995, the Smashing Pumpkins released one of the seminal albums of the 90s: 𝘔𝘦𝘭𝘭𝘰𝘯 𝘊𝘰𝘭𝘭𝘪𝘦 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘐𝘯𝘧𝘪𝘯𝘪𝘵𝘦 𝘚𝘢𝘥𝘯𝘦𝘴𝘴.
The album debuted at number on the US 𝘉𝘪𝘭𝘭𝘣𝘰𝘢𝘳𝘥 200 with first-week sales of 246,500 units. It was certified diamond by the RIAA, equivalent to more than 10 millions sold in the US. It earned the band seven Grammy Award nominations.
𝘌𝘯𝘵𝘦𝘳𝘵𝘢𝘪𝘯𝘮𝘦𝘯𝘵 𝘞𝘦𝘦𝘬𝘭𝘺 gave the album an A rating, praised the group's ambition and wrote, "It is more than just a work of a tortured, finicky pop obsessive. Corgan presents himself as one of the last true believers: someone for whom spewing out this much music results in some sort of high art for the ages. He doesn't seem concerned with persistent alterna-rock questions of 'selling out', and good for him: He's aiming for something bigger and all-conquering."
𝘛𝘪𝘮𝘦 called the album "the group's most ambitious and accomplished work yet", and wrote: "One gets the feeling that the band [...] charged ahead on gut instincts; the sheer scope of the album (28 songs) didn't allow for second-guessing or contrivance." Time selected 𝘔𝘦𝘭𝘭𝘰𝘯 𝘊𝘰𝘭𝘭𝘪𝘦 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘐𝘯𝘧𝘪𝘯𝘪𝘵𝘦 𝘚𝘢𝘥𝘯𝘦𝘴𝘴 as the best album of the year in its year-end "Best of 1995" list.
The video here via nyuv02/YouTube, the Smashing Pumpkins performing "1979" on American Music Awards, 1996.
Bob Dylan: "Jack White...He's an explosion, he's dynamite. He can do so many different things, and he's so proficient and adept."
Jimmy Page: "He's an innovator, and that's very important."
Chris Martin: "Jack's like a magician. He can pull these incredible sounds out of his guitar."
Keith Richards: "Jack's got a real feel for the blues, and he knows his music history."
Neil Young: "I respect Jack. He's taken his love of early American blues and brought it to a whole new generation."
Robert Plant: "Jack's brought an integrity to rock music that was sorely needed."
Elton John: "I've always admired the rawness in Jack's music. He's a true original."
Dave Grohl: "Jack's got the spirit of rock n' roll in his bones. He's a legend."
Alison Mosshart (The Kills, The Dead Weather): "Working with Jack is like tapping into a well of musical knowledge. He's constantly inspiring."
Patrick Carney (The Black Keys): "We may have had our differences, but I can't deny Jack's talent and passion."
Happy 48th birthday the wicked whiz, the weird and wonderful Jack White!
_____
Video via Foxtel Arts/Later with Jools Holland, July 2015
The Decline of Western Civilization
This month in 1981, the documentary movie 𝘛𝘩𝘦 𝘋𝘦𝘤𝘭𝘪𝘯𝘦 𝘰𝘧 𝘞𝘦𝘴𝘵𝘦𝘳𝘯 𝘊𝘪𝘷𝘪𝘭𝘪𝘻𝘢𝘵𝘪𝘰𝘯 was released.
Penelope Spheeris directed the film, which was shot in 1979 and 1980 and chronicles the Los Angeles punk rock scene in considerable detail.
The film featured performances and interviews both with the band members, the publishers of 𝘚𝘭𝘢𝘴𝘩 fanzine, and with the punks who made up their audience, it provides insight into a subculture that was largely ignored by the rock music press of the time.
The promotional poster for 𝘛𝘩𝘦 𝘋𝘦𝘤𝘭𝘪𝘯𝘦 (and the record cover of the soundtrack album) featured a close-up frame of Germs singer Darby Crash supine on stage with his eyes closed. Crash died from a heroin-induced suicide shortly before the film was released.
Black Flag, Germs, X, Alice Bag Band, the Circle Jerks, Catholic Discipline, and Fear are among the bands included.
The film's title is possibly a reference to music critic Lester Bangs' 1970 review of the Stooges album 𝘍𝘶𝘯 𝘏𝘰𝘶𝘴𝘦 where Bangs quotes a friend who had said the popularity of the Stooges signaled "the decline of Western civilization". Meanwhile, Claude Bessy aka Kickboy, claims to have invented the title in 𝘞𝘦 𝘎𝘰𝘵 𝘵𝘩𝘦 𝘕𝘦𝘶𝘵𝘳𝘰𝘯 𝘉𝘰𝘮𝘣, an oral history of the LA punk rock scene.
The video here, from the scenes of 𝘛𝘩𝘦 𝘋𝘦𝘤𝘭𝘪𝘯𝘦, X performing "Nausea" and "We're Desperate".
𝘛𝘩𝘦 𝘥𝘦𝘤𝘭𝘪𝘯𝘦 𝘩𝘢𝘴 𝘣𝘦𝘨𝘶𝘯, 𝘸𝘦'𝘳𝘦 𝘥𝘦𝘴𝘱𝘦𝘳𝘢𝘵𝘦, 𝘨𝘦𝘵 𝘶𝘴𝘦𝘥 𝘵𝘰 𝘪𝘵, 𝘪𝘵'𝘴 𝘬𝘪𝘴𝘴 𝘰𝘳 𝘬𝘪𝘭𝘭!
