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Gnarls Barkley: Crazy – The Sound of the 2000s

Gnarls Barkley: Crazy GnarlsBarkleyCrazyCover

Hi dear readers. Here is a nice little singalong for the shower or wherever…I give you, from 2006, Gnarls  Barkley – “Crazy”. The song was Rolling Stone magazine’s #1 song of the 2000s. How the hell did I miss it then? Musta been crazy or something.

Here’s the best version, with lyrics onscreen. We can lose ourselves in it or jive along to our little hearts’ content. It topped the charts in the United Kingdom, Denmark, Canada, the Republic of Ireland, New Zealand and other countries on release that year, having already been leaked in 2005. Records for Songs Charting tumbled almost everywhere.

The only thing I don’t love about it is that it’s too short, and there is no more of that groove. It was a one-off musical collaboration, created by DJs CeeLo Green and Danger Mouse, who decided to write the best pop song ever, for the 5 times Grammy Award-nominated album St Elsewhere. And they’ve pretty much nailed it. Now I need to link the song to one of my non-music-related posts. Perhaps a post from the Abbottoir? Perfect. Just who is craziest anyway? The residents of Bedlam or the lunatics running the show?

“You are the best. You are the worst. You are average. Your love is a part of you. You try to give it away because you cannot bear its radiance, but you cannot separate it from yourself. To understand your fellow humans, you must understand why you give them your love. You must realize that hate is but a crime-ridden subdivision of love. You must reclaim what you never lost. You must take leave of your sanity, and yet be fully responsible for your actions.” -Gnarls Barkley, in a letter to the legendary rock critic Lester Bangs

What’s your favourite song for the 2000s? And is your government really out to get you, or are you just crazy? These are big questions. Take your time if you must but please feel free to comment when you are ready. Meantime, life is short so be sure to have fun. Love is free, so love freely. That’s my only advice.

AC/DC Live – Concert at Donington 91: Meta-rock over glass

For those about to rock….let’s go!

I love this concert at thac-dcangus onstagee Donington Music Festival in England in 1991, and can’t think of a better sound with which to launch my blog (see the About this blog post for further details about my site). The concert is part of
AC/DC’s Razor’s Edge tour. The band plays on a glass stage which provides some great film footage of Angus’ duck walking and other comic stage antics, showmanship which makes an AC/DC concert so high octane and compelling. That wiry body, capable of delivering such massive power, roves the stage relentlessly. Angus knows how to play to an audience and they love him for it.

The concert includes what I believe to be the definitive live version of “For Those About to Rock (We Salute You)” with real cannon salutes as a finale: video #1. Standing in on drums for Simon Wright (the only constant members have been Angus and Malcolm Young) is capable and enthusiastic Welshman Chris Slade, who possesses an impressive resume of English bands joined over a long and distinguished career. There are huge inflatable dolls of Angus and Rosie (everything about an acka dacka concert is huge). I have posted the YouTube footage of the concert but the footage and sound are of average quality: video #2. The individual clips are way better; the 26 cameras present, including one in a circling helicopter, provide outstanding vision.

Meta-rock I call it – hard rock so hard and rock-y it need only reference itself. Aussie pub rock at it’s very finest. The Razor’s Edge tour was released as an album in 1992.

Set list:

  1. Thunderstruck
  2. Shoot to Thrill
  3. Back in Black
  4. Hell Ain’t a Bad Place to Be
  5. Heatseeker
  6. Fire Your Guns
  7. Jailbreak
  8. The Jack
  9. Dirty Deeds Done Dirt Cheap
  10. Moneytalks
  11. Hells Bells
  12. High Voltage
  13. Whole Lotta Rosie
  14. You Shook Me All Night Long
  15. T.N.T.
  16. Let There Be Rock
  17. Highway to Hell
  18. For Those About to Rock (We Salute You)

Video #1: http://www.youtube.com/watch?v=DGvO7T_aFtk

Video #2:

Are you an AC/DC fan? Do you like this show? What’s your favourite rock concert? What makes it stand out for you? Please comment below; your feedback is welcome.

 

The Global Warming Counter link

This is my link to the Heat Widget, aka the Global Warming Counter. Click on it and it will take you to the Skeptical Science 4 Hiroshimas web site, where you will find – the Widget! It’s a natty way to communicate the science. Each button gives a different way to measure the current buildup of carbon in the atmosphere. The information button gives a fuller description of each measurement. You can even set up your own, with your chosen year, colour and style of buttons. Give it a go!

 

Sample Image

Click
to
Visit

4hiroshimas.com

Pictures of You – Epic Photos of Earth from Space

Cross post: http://notesonbeing.com/2014/05/13/weather-report-third-stone-from-the-sun-jaco-pastorius-alien-reveries/

aaearthspacepic17There is nothing that makes me appreciate our planet more than seeing it from space. These photos taken from the International Space Station are breathtaking, depicting Earth from different aspects. We see polar ice caps, glittery lightning storms, the Aurora Borealis, Odyssean land masses and oceans, a brightly coloured-in glacier, the Earth suspended in space surrounded by a spooky moon, bright sun and trippy stars, even Aurora Australis – the crew going about their daily biz. Astronauts are crazy people. Love ’em! How about you?  What makes you appreciate the earth most? Is it pictures like these or something else?

You might want to get that breathlessness cured. Post at http://notesonbeing.com/2014/04/26/the-cure-pictures-of-you/

Video link: The Cure – Pictures of You

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About this blog

About this blog: Notes on Being, or how to become yourself with writing and music

Welcome to my blog. It is wide ranging in subject to, I hope, reflect life in the present, with its tempo and its reverberations – the song and dance of being. I’ve long been interested in the theme in the writing of Friederi???????????????ch Nietzsche that life has meaning if it is read as a text. In exploring it this way, we can write the narrative of our own true selves, and let go of the script received from others. Through the prism of art and culture is a great way to do this. What’s your passion?

In writing my own life, I present to you my authentic self, my passions and my perils. I’m a work in progress (like this blog) but happy with where I am today. An Arts graduate (BA Honours, UNSW) with English and Philosophy majors, and an antipodean progressive thinker, I step forward and a little to the left downunder. A teacher, writer, feminist, activist and lover of nature and beauty, and of all things literary, as well as visual and performing arts, I am also a recovering person on the 12-step program. I grew up in the era of the peace-loving hippie, the 60s and 70s. My great passions are music, and writing about music. I like to discover the stories behind the sounds – the histories and the creative process.

I direct a spotlight as well on politics; animal rights; the environment; spirituality; women and their space in the biosphere; and fashion, design and all things aesthetic. The future of the Earth and the human species concerns me, as I believe it does all of us on some level. I love to collect great ideas and to offer them in a simple lucid form, anticipating the world becoming a better place. I endeavour to paint colourful pictures with words, to illustrate and illuminate. My personal ethos involves caring and sharing; my inspiration is Nietzsche, and all those who have supported me.

Please join me on my trip through the zeitgeist towards becoming, set to music. It is my reading of the experience and understanding of what it means to be alive today, of what it is to be human, and intimately connected to our Mother, this stunning planet we call home. It is, hopefully, a roadmap for emerging as one’s true self – with images and a soundtrack. Feel free to jump in with your own views on any of the issues and experiences I explore. And the same goes for the soundtrack. Music to me is an essential part of life. Do you agree and if so, what music has moved and inspired you in your life?

Our greatest gift is today and our ultimate end is freedom. Caz

This song leapt out at me as the obvious choice to accompany my intro for the blog. The Beatles were the first band I fell in love with – they were the soundtrack of my childhood and adolescence. Their songs exemplified the peace and love of hippiedom I felt an affinity for in the 60s and 70s, along with their strong sense of social justice. Love the psychedelia too and this song is a case in point. I was heartbroken when they split; by the time I was fifteen Let It Be, their last album, had been released. An era ended and it was a wrench for me, a lesson in the impermanence of all things in life.

I moved on to The Moody Blues and discovered hard rock – Black Sabbath, Led Zeppelin, Deep Purple, et al – and expanded my musical horizons with rock fusion in my teens, but the Fab Four have always held a special place in my heart. Today I love them as much as ever. “A Day in the Life”, the final song on Sgt. Peppers Lonely Hearts Club Band, was ranked 28th greatest song of all time and greatest Beatles song by Rolling Stone magazine. I will be doing a post on The Beatles some time but it will be limited in scope; there is too much in their work for me to tackle in one essay. Even thinking about this endeavour I suddenly feel my confidence ebb. Oh dear reader, I am unworthy. Oh well, as in most things, I will just have to rise to the occasion. As I told myself before starting this blog, “be brave and do it!”

The Beatles – A Day in the Life:

Acknowledgement and thanks to my friend TJ who has, as usual, inspired and encouraged me through this process. C

Video

What do you think of when you think about climate change?

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In deciding on a song to attach to this post I could not go past this one; there is no other song that I know of which conveys the sense of the apocalyptic more than The Doors’ “The End”.

Jim Morrison and The Doors: “The End” live version

What do you think of when you think about climate change? Excellent question. What imagery is most powerful in communicating the science? What is most likely to make people switch off or feel disempowered? Thorny questions to grapple with at a time when the national conversation seems to have taken a

trackflatsolarpanel (1)decidedly sinister downturn and many must be feeling a sense of hopelessness.  David Holmes, editor of wide-ranging blog The Conversation, examines these questions in “Four Hiroshima bombs a second” and “Two degrees” both subtitled “how we imagine climate change”.

Holmes, Senior Lecturer in Communication & Media Studies at Monash University, receives funding from their Faculty of Arts for research into climate change communication. So glad someone is approaching this with academic rigor. It makes sense to discuss destructive energy, similar to that released by earthquakes, or nuclear bombs, measured by scientists as Joules (the 2004 Indian Ocean earthquake & tsunami was 1.1 Joules, the equivalent energy of 26 megatons of TNT) in pictorial terms, or memes, referencing collective experiences of people. Much like the Mercalli Scale in calculating earthquakes, which measures the intensity of physical experiences and observations people share during and in the aftermath of an earthquake. Imagery & analogies from popular culture, such as Terminator 2: Judgement Day can also be useful.

Climate change seems more languid than any of these; people’s experiences are blunted by the lifespan creep of it, and insulated because 90% of the energy is absorbed by the ocean and ice which, even at the current rate of acceleration, with energy the equivalent of four Hiroshima bombs a second hitting the Earth, will take decades to warm. Its effects are still a long way from where most people live. Further, it’s a complex picture; some effects could result in cooling at specific global locations.

Similarly confusing, two degrees does not seem significant when measured against normal dresponsesaily fluctuations in temperatures. The problem is that this is an average global temperature and this amount of warming is sufficient to cause extreme weather and ocean rising which will affect the entire population of the globe. It is also a point at which the damage will be irreversible. There will not be another Ice Age. And make no mistake, it is set to be grim in many of our lifetimes. The 2 degree threshold is likely to be reached by 2060.

As Holmes points out however, the mind-numbingly catastrophic potential future picture can be countered by images which make people feel empowered, bringing solutions close to home, such as wind farms and solar panels. The time for safeguarding people’s sensibilities has passed. Again Holmes gives notice, every day is Judgement Day.

http://theconversation.com/two-degrees-how-we-imagine-climate-change-18035

https://theconversation.com/four-hiroshima-bombs-a-second-how-we-imagine-climate-change-16387

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Video

Jim Morrison and The Doors: “The End” live version

Morrison is among the most quotable of rock stars.

Morrison is among the most quotable of rock stars.

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The Doors: “The End” live version

Despite tragically making the 27 club, Jim Morrison lives on – The Doors albums still sell today. Morrison is among the most quotable of rock stars. Along with that rich bass baritone voice, perfect for rock music, he was a thinker. The singer and songwriter wasn’t just ahead of his time, he is timeless. His influences included Nietzsche, Blake, Joyce, Freud, Rimbaud, Baudelaire and Sophocles. Morrison wrote “The End”, but it evolved through months of Doors’ performances into a nearly 12 minute track on their self-titled album released in January 1967.

The song was used by Coppola in the opening scenes of his 1979 masterpiece “Apocalypse Now”. It’s a genius choice, setting the tone of the movie, which often veers between dream-like states and nightmare scenarios. In this live version, Morrison performs at his best – he could be unpredictable – & Robby Krieger’s opening riff is hauntingly beautiful. It’s an innovative piece of music, the lyrics reference Oedipus, from Greek theatre & universal themes of life, death & pain. This quote about the song’s meaning is reprinted from Wikipedia:

“In John Densmore‘s autobiography Riders on the Storm, he recalls when Morrison explained the meaning:

‘At one point Jim said to me during the recording session, and he was tearful, and he shouted in the studio, ‘Does anybody understand me?’ And I said yes, I do, and right then and there we got into a long discussion and Jim just kept saying over and over kill the father, fuck the mother, and essentially boils down to this, kill all those things in yourself which are instilled in you and are not of yourself, they are alien concepts which are not yours, they must die. Fuck the mother is very basic, and it means get back to essence, what is reality, what is, fuck the mother is very basically mother, mother-birth, real, you can touch it, it’s nature, it can’t lie to you. So what Jim says at the end of the Oedipus section, which is essentially the same thing that the classic says, kill the alien concepts, get back reality, the end of alien concepts, the beginning of personal concepts.’”

It is a piece of pure theatre. The people watching him perform this in the 60s seemed either transfixed or swaying in some hypnotic state. The Lizard King, mr mojo risin (anagram), King of Orgasmic Rock, with the rest of the Doors it must be acknowledged, in spite of his obvious character flaws, had the power to blow your mind.

“The End” ranked number 336 on Rolling Stones list of The 500 Greatest songs of All Time (2010) and Robby Krieger’s guitar solo was ranked number 93 on Guitar World’s “100 Greatest Guitar Solos of All Time”. I’ve reprinted the lyrics below.

This is the end

Beautiful friend
This is the end
My only friend, the end

Of our elaborate plans, the end
Of everything that stands, the end
No safety or surprise, the end
I’ll never look into your eyes…again

Can you picture what will be
So limitless and free
Desperately in need…of some…stranger’s hand
In a…desperate land

Lost in a Roman…wilderness of pain
And all the children are insane
All the children are insane
Waiting for the summer rain, yeah

There’s danger on the edge of town
Ride the King’s highway, baby
Weird scenes inside the gold mine
Ride the highway west, baby

Ride the snake, ride the snake
To the lake, the ancient lake, baby
The snake is long, seven miles
Ride the snake…he’s old, and his skin is cold

The west is the best
The west is the best
Get here, and we’ll do the rest

The blue bus is callin’ us
The blue bus is callin’ us
Driver, where you taken’ us

The killer awoke before dawn, he put his boots on
He took a face from the ancient gallery
And he walked on down the hall
He went into the room where his sister lived, and…then he
Paid a visit to his brother, and then he
He walked on down the hall, and
And he came to a door…and he looked inside
Father, yes son, I want to kill you
Mother…I want to…fuck you

C’mon baby, take a chance with us
C’mon baby, take a chance with us
C’mon baby, take a chance with us
And meet me at the back of the blue bus
Doin’ a blue rock
On a blue bus
Doin’ a blue rock
C’mon, yeah

Kill, kill, kill, kill, kill, kill

This is the end
Beautiful friend
This is the end
My only friend, the end

It hurts to set you free
But you’ll never follow me
The end of laughter and soft lies
The end of nights we tried to die

This is the end

What do YOU think about Jim Morrison’s legacy and his influence on rock music? Do you believe it stands the test of time?

Cross post: https://carolneilands.wordpress.com/2014/04/26/what-do-you-think-of-when-you-think-about-climate-change/

Video

Elvis Presley “Suspicious Minds” American studio 1969: A vocal masterpiece

elvis (183x275)Elvis Presley “Suspicious Minds” 1969 https://www.youtube.com/watch?feature=player_detailpage&v=hdmIhCkp3p4

Like his work of the 1950s, Presley’s late 1960s recordings reworked pop and country songs in distinctly different arrangements. His vocal style and range now involved a more contemporary rock sound melded to soul and funk. A lot of Elvis in Memphis mirrored his fresh rock and soul fusion. One of these recordings became one of the most outstanding hits of Elvis’ career. Mark James wrote “Suspicious Minds”, a thoughtful pop song with themes of deep love, distrust and pain, containing drama and operatic power. The hyper-produced soul-influenced pop ballad had been covered by others but it was Elvis Presley’s 1969 recording that will always be remembered as the definitive version.

The producer was legendary Memphis soul producer Chips Moman at the funky American studio. It hit the charts alongside stiff competition, testament to its command. According to Piers Beagley on the Elvis Information Network “(t)he 1969 pop charts were one of the strongest in years with the political, “Bad Moon Rising” by Creedence Clearwater Revival, “Something in the Air” by Thunderclap Newman mixing with the innovative, David Bowie’s “Space Oddity” and the classics, The Rolling Stones “Honky Tonk Women” and The Beatles “Come Together”. ….Elvis’ musical strength had always been as a great interpretive singer and it would only be the absolute passion he injected into the song that would elevate it to the #1 slot on the US charts; #2 in the UK, amongst these other classics.” Elvis’ rendering of the song ranks in Rolling Stone’s list of the 500 Greatest Songs of All Time at #91. This is a stunning vocal achievement.

The track established Elvis’ return to vocal form as well as a literal return to his home town. After many years of squandering his talent on B-movie soundtrack padding, a thundering, mature-voiced Presley lets loose his full power on this ballad, a defining moment in the history of popular song. “Suspicious Minds” starts with Reggie Young’s unrelenting guitar riff harmonised to Bobby Woods’s piano line, conveying an edgy mood for the listener. The vocal lines are delivered in two-part harmony. When Elvis enters with the astonishing first line for a pop love-song “We’re caught in a trap” the drama is instantly laid bare. The listener is confronted with an overwhelming intimacy; the refrain alternates between anger and smouldering despair, from an urging powered chorus to a seething, tentative tempo bridge that feels like a totally different song. During this soul section – after the aching frustration suggested in the verses – Presley begs his lover not to “let a good thing die,” as if down on one knee (in the live performances of the song Elvis indeed drops to his knees during this section). The fade out and return to the song feels exactly like the trap the lovers are caught up in. Raw emotion is sensed throughout, with Elvis’ vocal expressing both vulnerability and anguish as he declares to his sweetheart that he loves her too much.

This is one of the songs where he reaches the notable high register G4. The King’s passion turns the song into something utterly his own, while provoking the studio band to turn on several degrees of heat. The other musicians on the sessions included Reggie Young on guitar, Bobby Woods on piano and vocal, Mike Leech on bass, and Gene Chrisman on drums. The arrangement quickly builds to include horns, strings, layered backing vocals, and the throbbing rhythm section. Everyone in the studio that night knew that this was the song, how it was always meant to be sung and played.