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Wednesday, November 30

Return of 'stupid little Boston band' the Pixies

http://www.yomiuri.co.jp

Frank Spignese / Special to The Daily Yomiuri

When the reunited Pixies took the stage at another rain-drenched Fuji Rock in summer 2004, one couldn't help but feel that the audience wasn't grasping the full significance of what was about to happen. The band was welcomed with the same respectful applause that had greeted P.J. Harvey and Lou Reed, but a far more monumental reception was deservedly in order.

The Pixies had gotten back together. Only Joe Strummer crawling out of his grave and reforming the Clash could have overshadowed this most unlikely of rock 'n' roll reconciliations. The animosity between lead man Frank Black and bassist Kim Deal is legendary. Black was on such bad terms with the rest of the Pixies at the end of their doomed 1992 tour that he broke up the band via fax.

At the peak of their fame, opening for U2 at stadiums across the United States and riding the about-to-break '90s grunge rock wave, they called it quits. They would never get a chance to reap the benefits of the music that they themselves had planted.

In Gouge, a recent Pixies documentary, David Bowie says that everyone who heard them back in those days day formed their own band. Bono goes on to claim that Black is one of the most gifted American songwriters of all time.

But where they really left their mark was on the alterative revolution that dominated '90s music. Everyone from Helmet to Blur aped a bit of the band's nerd-rock aura. Radiohead frontman Tom Yorke only agreed to play last year's Coachella Festival after learning that the Pixies were also on the bill. Most famously, Kurt Cobain confessed that "Smells Like Teen Spirit," with its quiet/loud, whisper/scream dynamic, was a complete Pixies rip-off.

This "stupid little band in Boston" (as Deal once referred to them) lay claim to something that few groups can: they invented their own genre. They made Pixies music. They mixed surf rock, Beatlesque harmonies and ear-bleeding thrash all inside head-spinning songs that were often over before you knew they had begun. This, coupled with Black wailing away about incest, UFOs, death, the Old Testament, masturbation and water pollution, made for one heady brew.

Those who missed out the first time around can see what all the fuss is about when they hit Japan next week. They're promoting a new live DVD, Pixies Sell Out, which finds them in fine form.

Rumors abound that they will soon be reentering the studio to record again. So far the only new material to come from the reunited Pixies has been a track on a Warren Zevon tribute album and a Deal song, recorded (but rejected) for the Shrek 2 soundtrack.

In an interview with Salon.com, Black spoke about not being able to milk the reunion meal ticket forever.

"What does a band do?" he asked. "They go out on tour and then if they feel they have to make it or continue to make their mark, they go and write music and record it. We're not really in that mode, because right now we're just playing the old songs and getting paid lots of money for it."

Their set at Fuji Rock was a ferocious affair, kicking off with a crushing version of "Bone Machine" and steamrolling forward nonstop. The majority of tunes came from their early classics, Surfer Rosa and Doolittle, but two fan faves from their later discs, "U-Mass" and "Velouria," were also rocked out.

Black looked a bit stockier and the detoxed Deal was without her trademark lit cigarette; otherwise they didn't appear much different than they did back in 1992.

They didn't move then and they don't move now. The Pixies don't have to, they just play.

One tangible difference was their easy air on stage. Deal was smiling from ear to ear the entire show, hamming it up with her old nemesis Black.

Guitarist Joy Santiago flubbed the beginning to "Debaser" and Black made a joke about it. A similar mistake made back in the early '90s would have been greeted with a hurled instrument.

The kinder, gentler Black verified the possibility of a new album in a recent interview with VH1.

"I haven't removed enough Kim Deal compositions yet" he half-joked. "We'll have a fight about that or something. And, of course, in the end I will dominate."

Pixies will play Dec. 3, 6 p.m. at Drum Logos in Fukuoka, (092) 714-0159; Dec. 4, 6 p.m. at Club Quattro in Hiroshima, (082) 249-3571; Dec. 5-6, 7 p.m. at Zepp in Tokyo, (03) 5466-0777; Dec. 8, 7 p.m. at Zepp in Osaka, (06) 6233-8888; Dec. 9, 7 p.m. at Zepp in Nagoya, (052) 320-9100

Christmas Countdown: Day 25

http://www.sing365.com/music/

Christmas Time in Hell

Well i'll tell you what..
Maybe we should have ourselves
a little christmas, right here..
C'mon everybody, gather 'round!

String up the lights and light up the trees
We're gonna make some revelry..
Spirits are high, so I can tell
It's Christmas time in hell!
Demons are nicer as you pass them by
There's lots of demon toys to buy
The snow is falling, and all is well
It's Christmas time in hell!

There goes Jeffrey Dahmer
With a festive Christmas ham..
After he has sex with it
He'll eat up all he can..
And there goes John F Kennedy
Carolling with his son..
Reunited for the holidays
God bless us, everyone!
Everybody has a happy glow
Let's dance in blood, and pretend it's snow..
Even Mao Tse Tung is under the spell
It's Christmas time in hell!

Satan: Adolf, here's a present for you!
Adolf: Oh? Ein Tannenbaum!
Satan: Yes, Ein Tannenbaum!

God cast me down from heaven's door
To rule in hell forever-more
But now i'm kinda glad that I fell
'Cos it's Christmas time in hell!
Here's a rack to hang the stockings on
We still have to shop for Genghis Khan
Michael Landon's hair looks swell
It's Christmas time in hell!

There's Princess Diana
holding burning mistletoe
Over Poor Gene Siskel's head
Just watch his weenie grow!
For one day we all stop burning
and the flames are not so thck
All the screaming and the torture stops
As we wait for old St Nick!

So, String up the lights and light up the trees
We're damned for all eternity..
But for just one day, all is well
It's Christmas time in hell!
Get a toast together and make it quick
We've gotta make room for Andy Dick..
Wake his mother and ring the bell..
It's Christmas time.. [christmas time x3]
Christmas time.. [christmas time x3]
It's Christmas time in hell!
..Merry Christmas, Movie house!

The Paddingtons: First Comes First

http://www.nme.com/reviews

Hull's finest prove they're more than just part-time Dior models and full-time Doherty mates.

It takes a warped fashionista eye to gaze upon the gnarly urch muzzles of The Paddingtons and think, 'Y'know, I bet they'd look good on the catwalk.' But Hedi Slimane nabbing Josh Padd's drainpipes'n'braces 'look' for his latest Dior collection speaks encyclopaedias about the way this bunch of scragglebums from Hull have infiltrated and crystallised the modern yoof-punk oeuvre. More through homogenisation than front-running, though - they crossed the Whitechapel scene's spiv fashions with The Others' rabid-whippet ferocity and the kind of standard issue grot-punk songs you could scrape off the wall of the Rhythm Factory most nights, thereby coming to epitomise everything thrillingly familiar about the post-Libs world of pikey poet punkas. They are grot'n'roll in the same way Shed Seven were britpop and Northside were baggy.

But this? Now this wasn't supposed to happen. Certainly nobody expected a vital, pulse-pumping monster of a debut album set on tearing down the walls of art-rock and feasting on the blood of the wonky-fringed hordes within. But then nobody counted on one Mr Owen Morris popping up on production 'duties' boasting testicles of solid steel. Doing for The Paddingtons much the same as Steve Albini did for Pixies - taking some fairly scratchy and unfocused numbers and breathing the evil fire of a billion-headed Cerberuses into their bellies - on 'First Comes First' Morris just as successfully forges a new voice for British rock as he did with Oasis in '95. By ramming a whole abattoir's worth of raw beef down the gullets of 'Panic Attack', 'Some Old Girl' and 'Stop Breathing', he's grown a slavering punk behemoth where there was once just an underfed Pete Doherty lapdog with the teeth of Chucky and the temperament of a pissed-off were-stoat.

No, 'First Comes First' races out of the traps a lithe, muscle-fed beast: 'Some Old Girl' piledrives through its three minutes of fantasism on the dual rumbly-bass boosters of The Stooges and MC5, the title track shows The Ordinary Boys a thing or 12 about yob-chanting a modern urban terrace anthem and '50 To A £' takes The Strokes' 'The Modern Age' and hangs it upside-down from the top of a Bethnal Green council block until it confesses to having always wanted to be 'Going Underground'.

Where we expected 11 puny, style-over-substance Xeroxes of the most recent Babyshambles B-side, here instead stands a band with a comprehensive and sharply honed understanding of the music that birthed them and a devout intent to drag it scowling and roaring into the 21st century. With 'Hell's Bells' on.

This does, unfortunately, mean that, even within its Buzzcock-y 33 minutes, there's a certain amount of predictable punk retreads to be side-stepped here. 'Loser' is yer average Croydon pub band three-chorder that Sham 69 wrote 794 times in April of 1978 alone and 'Alright In The Morning' fulfils The Paddingtons' legal obligation, under the Indie Ska Enforcement Act Of 2005, to include at least two minutes of skanking Clash bits on their debut record. But these are anomalies; more typical is the compulsive shoo-wop jitter-rock of album highlight 'Panic Attack', the (no shit) Green Day-esque 'Worse For Wear' and 'Tommy's Disease' and ace spunk-pop closer 'Sorry', produced by that other Svengali of crystallised Britishness, Stephen Street.

Not that Tom Atkin is any kind of N*w M*rr*ss*y, you understand. Hell, in the sphere of contemporary cultural poets he's barely even the new Lisa Scott-Lee. Sure, there's references to gun/gang culture in 'First Comes First', prostitution in 'Some Old Girl', drugs being bad for you and that in '50 To A £' and urban despair in 'Panic Attack' ("You wanna die?/Go on, commit suicide" - well thanks for your help, Dr Phil), but 'First Comes First' fails to speak to the heart and soul of any UK subculture in the way that Hard-Fi epitomise suburban desolation, The Rakes live the alcoholic wage slave anti-dream and Pete himself encapsulates every lost urban romantic on (or, in his case, way over) the edge. What 'First Comes First' is, however, is all the passion, rage, filth and fury (and, um, catwalk swagger) of the urch scene blasted - point-blank, both barrels - into your gut. England's snarling. Mark Beaumont.

GSOTD: Come On Eileen

http://users.cis.net/sammy/eileen.htm

(Come on Eileen!)
(Come on Eileen!)

Poor old Johnny Ray
Sounded sad upon the radio
He moved a million hearts in mono
Our mothers cried and sang along and who'd blame them?
Now you're grown, so grown, now I must say more than ever
Go toora loora toora loo rye aye
And we can sing just like our fathers ....

Come on Eileen! Well, I swear (what he means)
At this moment, you mean everything
With you in that dress, my thoughts I confess
Verge on dirty ......
Ah, come on Eileen!

(Come on Eileen!)
(Come on Eileen!)

These people round here wear beaten down eyes
Sunk in smoke dried faces
They're so resigned to what their fate is
But not us, no not us
We are far too young and clever
Go toora loora toora loo rye aye
Eileen, I'll sing this tune forever

Come on, Eileen! Well, I swear (what he means)
Ah come on, let's take off everything
That pretty red dress .... Eileen (tell him yes)
Ah, come on! Come on Eileen!!!

Come on Eileen! Well, I swear (what he means)
At this moment, you mean everything

Come on, Eileen, taloora aye
Come on, Eileen, taloora aye
Come on, Eileen, taloora aye
Come on, Eileen, taloora aye
Come on, Eileen, taloora aye
Come on, Eileen, taloora aye

Go toora loora toora loo rye aye

Come on Eileen! Well, I swear (what he means)
At this moment, you mean everything
With you in that dress, my thoughts I confess
Verge on dirty ......
Ah, come on Eileen!

Come on, Eileen! Well, I swear (what he means)
Ah come on, let's take off everything
That pretty red dress .... Eileen (tell him yes)
Ah, come on! Come on Eileen!!!

Come on Eileen! Well, I swear (what he means)
At this moment, you mean everything

Come on Eileen! Well, I swear (what he means)
At this moment, you mean everything

GAOTD: Dexy's Midnight Runners

www.nostalgiacentral.com/

Summer 1980 was a restless time - Punk was dead, Ian Curtis had just killed himself and The Rolling Stones and Queen topped the album charts. The release of Dexy's debut album, Searching For The Young Soul Rebels, was an event to be savoured. Resolutely and defiantly, the group had already crossed swords with EMI and would soon take on the music press.

Their album opened with the twirl of a radio dial sampling bits of the Sex Pistols and The Specials before Kevin Rowland sneered "for God's sake, burn it down". What followed was the most incandescent and refreshing record of the year. An energetic mix of pop, Northern Soul and punkish attitude.

A re-recorded Dance Stance offered a searing indictment of anti-Irish racism, the celebratory Geno had become a chant at every gig, there was an instrumental that sounded like a film theme and the epistolary There There My Dear in which Rowland savaged a fashion-conscious contemporary. The closing words "welcome to the new soul vision" were greeted with joy by many for whom Dexy's Midnight Runners represented an oasis of passion and commitment at the beginning of a new decade.

Taking their name from the legendary mod pep pill 'Dexedrine', Kevin Rowland had formed Dexys in July 1978 to try and emulate their heroes of the 60s soul scene. Sporting an image inspired by Martin Scorsese's Mean Streets (ie: New York Dockers), Dexys quickly became the toast of the British music press.

There was dissension in the ranks however, and the bulk of the band left in 1981 to form The Bureau. With Rowland and Jimmy Patterson the only remaining original members they bolstered the line-up with new recruits. The resulting single, Show Me, hit the UK Top 20 later that summer, although a follow-up, Liars A to E, failed to chart and the group retired to reconsider their approach.

Augmenting the band with The Emerald Express (fiddlers Helen O'Hara, Steve Brennan and Roger MacDuff) Dexys re-emerged in Spring 1982 with a revamped Irish folk/soul hybrid and a rousing cover version of Van Morrison's Jackie Wilson Said making the Top 5.

The Celtic Soul Brothers introduced this new dishevelled romantic gypsy vagabond image, and though the track failed to chart, a follow-up (Come On Eileen) was a massive transatlantic Number One smash hit. Not only were Dexys big news in the UK again, they had cracked America (albeit briefly).

The subsequent album, Too-Rye-Ay (1982), was the most successful of their career, but yet again the line-up splintered and the momentum faltered with the brass section of Patterson, Maurice and Speare departing in summer 1982.

It would be a further three years until the release of Don't Stand Me Down, a considerably lower-key effort which enjoyed only a brief visit to the charts.

A solitary hit single, Because Of You (used as the theme tune to the UK TV series Brush Strokes) followed in 1986 before Dexys were consigned to history.

Glengarry Glen Ross

http://homevideo.about.com/library

Tagline: "A story for everyone who works for a living."

Length: 100 minutes
MPAA Rating: Rated R for language

I love sparkling dialogue delivered by top-notch actors, and that's what you get when you watch "Glengarry Glen Ross" (1992), now available on DVD in a two-disc Special Edition put out by Artisan. The dialogue was written by the great American playwright David Mamet and delivered by a dream-team ensemble cast that includes Al Pacino, Jack Lemmon, Alec Baldwin, Ed Harris, Alan Arkin, and Kevin Spacey.

In the movie, Shelley Levene (Lemmon), Ricky Roma (Pacino), Dave Moss (Harris), and George Aaronow (Arkin) are salesmen who work for Premiere Properties. Their desks are in a small, shabby office managed by John Williamson (Spacey). The location of the office is never mentioned in the film, but its proximity to an elevated train and the remark by one of the salesmen that he "had a woman in White Plains on the hook" seem to imply that it is in the New York City area.

About eight-and-a-half minutes into the movie, there's a dramatic scene where the salesmen attend a meeting conducted by a disagreeable man (Baldwin) who drives an $80,000 BMW and has been sent by the management. He tells them, "Only one thing counts in this life—get them to sign on the line which is dotted!" He also admonishes them: "A-B-C. A—Always, B—Be, C—Closing. Always be closing." But what gets the salesmen's undivided attention is that the man notifies them that they are in a sales contest where first prize is a Cadillac, second prize is a set of steak knives, and "third prize is you're fired."

After the meeting, the office manager hands each salesman two "leads," which are cards containing the names and telephone numbers of prospective buyers. Moments later we see Shelley on the phone telling a Mrs. Nyborg, "I'm calling from Consolidated Properties of Arizona. Our computer has chosen you from all of the many thousands who write in requesting information on our properties. Now by federal law, as you probably know, the prize must be awarded to you even if you are not engaged in our land development plan. The only stipulation, of course, is that you and your husband must sign at the same time for the receipt of your prize. Now, I will be in the area tonight, possibly tomorrow. What do you think might be a convenient time to meet with both you and your husband?"

We watch the salesmen try to sell parcels of land in Arizona and Florida to reluctant prospective investors, but much of the film is taken up by the salesmen talking among themselves. Their big complaint is that the leads they are given are weak, and they become obsessed with the fact that there are premium leads locked up in the office that are to be given later to those who prove themselves to be closers. Soon the office is robbed and the premium leads are stolen, and the police are brought in to investigate.

What I like best about "Glengarry Glen Ross" is the way it captures the attitudes of men working at unglamorous jobs. Al Pacino exudes the easy arrogance that success can bring, Ed Harris shows us an edgy bitterness, and Jack Lemmon and Alan Arkin both seem like beaten older men who can't keep up with changing times. The movie is brilliantly successful as a psychodrama, yet I got a lot of laughs from its dark humor.

The film version of "Glengarry Glen Ross" was adapted from a 1980s Broadway play, and I have to admit that the movie remains pretty stagy. Nevertheless, the cinematography does have its moments, mainly through the use of unusual camera angles and unexpected use of color. Also, I suppose some viewers will find the plot of "Glengarry Glen Ross" less than compelling, but for me, the inherent drama in the film's many closely observed moments more than compensates.

The "Glengarry Glen Ross" two-disc DVD set comes with both widescreen and full-screen versions of the film. There's an audio commentary by director James Foley for part of the widescreen version, but his commentary doesn't run anything like the full length of the movie. There are also commentaries for part of the full-screen version by Alec Baldwin, Alan Arkin, cinematographer Juan Ruiz Anchía, and production designer Jane Musky, but each of these is rather short. The DVDs come with some other nice bonus materials as well, and I have listed them below.

Tuesday, November 29

Breaking News: The Kid Is Not His Son

When asked for a quote on this story, Jeff Bierbrodt unexplainedly replied, "I wanted to go."

http://www.entertainmentwise.com/

Michael Jackson Not The Real Father Of His Children. Debbie Rowe was artificially knocked up...

By: Lowri Williams

Shock!!!! Horror!!! Debbie Rowe, ex-wife of Michael Jackson has revealed that the crazy singer is not the biological father to their children Prince Michael Jr and Paris.

Rowe, was married to the baby dangling Jackson for three years during 1996 and 1999. She has now revealed that both children were conceived through artificial insemination.

Rowe told the Irish newspaper, The Sunday World: "Michael knows the truth - that he is not the natural father of Prince Michael Jr and Paris. He has to come clean.

"I have no information whatsoever about the identity of the semen donor for either child as such (semen) was obtained anonymously from a semen bank under an agreement of confidentiality."

I’m shocked, are you shocked? It’s pretty shocking…

Pumpkin Posters






GSOTD: Cherub Rock

http://www.azlyrics.com/

Freak out
And give in
Doesn't matter what you believe in
Stay cool
And be somebody's fool this year
'cause they know
Who is righteous, what is bold
So I'm told

Who wants honey
As long as there's some money
Who wants that honey?

Hipsters unite
Come align for the big fight to rock for you
But beware
All those angels with their wings glued on
'cause deep down
We are frightened and we're scared
If you don't stare

Who wants honey
As long as there's some money
Who wants that honey?

Let me out
Let me out
Let me out
Let me out

Tell me all of your secrets
Cannot help but believe this is true
Tell me all of your secrets
I know, I know, I know
Should have listened when I was told

Who wants honey
As long as there is some money
Who wants that honey?

Let me out
Let me out
Let me out
Let me out

GAOTD: Smashing Pumpkins

I saw the Pumpkins (along w/ Pearl Jam) open up for the Chili Peppers at Northern IL University. Pearl Jam and the Pumpkins tore the place up. The Chilis tried but could not match the intensity of the opening acts.

http://www.trouserpress.com/

SMASHING PUMPKINS
Gish (Caroline) 1991 (Virgin) 1994
Lull EP (Caroline) 1991
Peel Sessions EP (UK Strange Fruit / Hut) 1992
Siamese Dream (Virgin) 1993
Today EP (Japan. Virgin) 1994
Disarm EP (Hol. Hut) 1994
Siamese Singles (UK Virgin) 1994
Pisces Iscariot (Virgin) 1994
Mellon Collie and the Infinite Sadness (Virgin) 1995
1979 EP (Virgin) 1996
Tonight Tonight EP (Virgin) 1996
Thirty-Three EP (Virgin) 1996
The Aeroplane Flies High (Virgin) 1996
Adore (Virgin) 1998
MACHINA / The Machines of God (Virgin) 2000
Machina II / The Friends and Enemies of Modern Music (online) 2000
{Rotten Apples} The Smashing Pumpkins Greatest Hits (Virgin) 2001
Earphoria (Virgin) 2002

ZWAN
Mary Star of the Sea (Reprise) 2003

JAMES IHA
Let It Come Down (Virgin) 1998

Perfectionists haven't had it easy in the indie-rock era — just ask Billy Corgan, the much-maligned, megalomaniacal leader of Smashing Pumpkins. In a lo-fi age, Corgan feels limited by a 72-track mixing board; from a world bounded by platinum-selling regular joes and fundamentalists who coin label names like Kill Rock Stars, he seeks old-school rock stardom of the highest degree. In short, he blurs the line between genius and jerk with more enthusiasm than just about anybody.

Corgan has never made it easy on himself. Barely out of his teens in Chicago, the diehard, Cure-worshiping goth (an influence that can still be heard in the Pumpkins' deceptively spry angst narratives) packed up his black duds and white makeup for a move to sunny Florida — hardly the place to maintain that coveted pallor. He led a band called the Marked — named in deference to the large strawberry birthmarks shared by Corgan and the band's drummer — but soon returned to Chicago, where he formed the blueprint for the Pumpkins and then the band itself, most certainly in that order.

After a couple of indie singles — and an infrequent- but-prestigious gigging schedule that leaned heavily on management's control of the Windy City's bigger alt-rock cabarets — the Pumpkins began attracting national attention. Corgan, who admitted (and later denied) that he'd assembled the lineup of Asian androgyne James Iha (guitar), bottle-blonde ice queen D'Arcy Wretzky (bass) and all-American boy Jimmy Chamberlin (drums) for "maximum visual impact," never allowed the other members to play on Pumpkins demos — a decision that seemed wise, given the unevenness of early shows. Before long, however, Corgan's vision proved prescient — the group's glimmering grunge alternative seemed to touch a note in kids who wanted to worship at the altar of Big Rock with only the mildest of assurances that they were existing on the same plane as the band.

Co-produced by Corgan and Butch Vig, the defiantly old- fashioned Gish propelled the Pumpkins to demi-star status. Buoyed as it is by Corgan's conspicuous displays of virtuosity and quasi-mystical crooning, the album has an undeniable, womb-like appeal: as layer after layer of dark, warm sound wafts down upon the listener, there seems to be little choice but to lie there and be enveloped. If you can fight off the lassitude Corgan tries so hard to impart, it's easy to discern that all Gish's sound and fury signify nothing more than an attempt to prove punk never happened. The ostentatious riffing and glistening structures of songs like "Rhinoceros" and "Suffer" are easily traced back to '70s pomp-rock forefathers like Rush and ELP — with Chamberlin's skittery new romantic underpinnings the only concession to modernity. Corgan's neo-classicist bent is evident in details like the modal intro to the opener, "I Am One" (not to mention its patchouli-laden lyrical gyrations), while his familiarity with the Beatles' songbook reveals itself in "Siva" (a blatant "Helter Skelter" rewrite). By disc's end, you're left with the feeling that the only reason the name of the London Symphony Orchestra doesn't appear on Gish is that Corgan didn't have enough time to learn the bassoon player's parts — you know, just in case.

The Lull EP leads off with the album version of "Rhinoceros," appending two LP outtakes ("Blue" and the unusually aggressive "Slunk") and a two-year-old demo of Corgan in a solo acoustic performance ("Bye June") that's understated and actually quite lovely.

After months in the studio — a good portion of that time sans band — Corgan at last produced what he referred to as the first full-blown Smashing Pumpkins album, Siamese Dream. The mood is promptly set by the opener, "Cherub Rock," a pseudo-anthem that wastes plenty of energy mocking and upbraiding an indie-rock scene that Corgan could buy and sell without overdrawing his checking account. The complaints are mostly disingenuous — after all, the band had worked to garner a veneer of street cred — but it's unlikely the kids who willingly climbed between the sometimes leaden strata of mellotron and tubular bells that make up "Soma" and "Mayonaise" could care: Corgan's free-floating discontent is ambiguous enough to touch something in most everyone with a gripe. While it'd be wrong to be too hard on Corgan for borrowing from his influences — who doesn't? — you'd think that all those hours of studio time would cultivate more inspired plunderings than the "American Woman" cop that provides the intro for "Hummer" or the "Immigrant Song"- derived rhythmic fusillade that props up "Geek U.S.A." Who says the me generation is dead?

Pisces Iscariot is a typical odds'n'sods collection (mostly British B-sides) in that it's easy to see why the majority of the tracks — particularly the never-before-released trifles "Whir" and "Spaced" — didn't make the cut the first time around. Although the album starts on a deceptively intimate note with "Soothe" (a gentle track Corgan allegedly recorded alone in his bedroom), it doesn't take long for the band's typical bluster to kick in on hot-air balloons such as "Starla" and the paradigmatically crabby "Pissant." Most artists use collections like this as an opportunity to let their hair down and have some fun — especially when given the chance to pay tribute to spiritual forefathers on the obligatory array of covers. Corgan manages to savor just such a moment during a BBC-radio version of the Animals' "Girl Named Sandoz" (also on the three-song Peel Sessions EP), although his hipoisie-defying rendition of Stevie Nicks' Fleetwood Mac superfluity "Landslide" is just plain pointless.

After a successful stint headlining Lollapalooza, the band—all of them this time—entered the studio for a protracted stay, and it wasn't long before a trickle of advance intelligence began suggesting that the project in progress would make Siamese Dream sound like Half Japanese. Corgan threw down the gauntlet long before the set's completion, confessing it would be a two-record concept album, one disc of "day," one of "night." And darned if he wasn't serious: Mellon Collie and the Infinite Sadness (which clocks in at over 140 minutes, split evenly between Dawn to Dusk and Twilight to Starlight) is dauntingly ostentatious—it begins with a Keith Emerson-styled piano instrumental and employs a full string section—but Corgan's vision, while still overwhelmingly inward-directed, has begun to come into focus. Alternating between polished ballads (the creamy "Tonight, Tonight," the breathily insinuating "Thirty-Three") and harsh, genuinely tortured expressions of angst ("Jellybelly" finds him musing "living makes me sick, so sick I wish I'd die"), he frames a sweeping story that's reminiscent of nothing so much as Genesis' The Lamb Lies Down on Broadway—but in Corgan's world, no one is innocent.

Much of the album's immediacy springs from the pared- down guitar sound. The overall tone is lush and textured, but Iha and Corgan have learned the power of positive skronk ("Where Boys Fear to Tread") and the joys of a simple fuzztone (showcased in "Bullet With Butterfly Wings"). Although Corgan is a bit more sympathetic this time around, it's still difficult to like a guy who'll throw a tantrum as mindless as "Fuck You (An Ode to No One)" and compound that by deadpanning lines as treacly as "Cupid hath pulled back his sweetheart's bow / To cast divine arrows into her soul" (from "Cupid de Locke"). On the surface, Corgan seems to be on a never-ending quest to play all of rock's archetypal roles at once—angst- ridden naïf and swaggering guitar hero, geeky outsider and king snake, yin and yang. But often as not, he simply ends up hiding behind his wall of machinery, hoping never to be revealed as post-modernism's very own Wizard of Oz.

Jimmy Chamberlin was sacked after his longtime drug addiction became public in the wake of tour keyboardist Jonathan Melvoin's fatal heroin overdose in a New York hotel room in July 1996. The band quickly replaced the drummer with Matt Walker of Filter (temporarily, as it turned out, as Chamberlain rejoined for the band's final chapter as well as its aftermath).

Following the grand excesses of Mellon Collie and a contemporaneous box set of singles, The Aeroplane Flies High, there was nowhere for the Pumpkins to go but down. Adore suffers not so much from Chamberlin’s departure but from a lack of memorable songs. Mired in keyboards—a function, perhaps, of Corgan’s ELO fixation finally coming to the fore—the tracks are bland and surprisingly timid. On what is easily the spottiest of the Pumpkins albums, only the sweeping grandeur of “Ava Adore” is any good; the rest of it is lost amid a sea of bleeps and blips. Although it sounded trendy in 1998 (amid a plethora of faceless electronica acts), the album made it look as if Billy and the band had overstayed their welcome.

But that wasn’t all they wrote. Machina is a vast improvement over Adore’s sulky sameness. Instead, heaviness abounds, from the stuttering, distorted riff of “The Everlasting Gaze” to the ragged opening chords of “The Imploding Voice.” Yet even the Sabbath-y start of “Heavy Metal Machine” gives way to Corgan gently cooing “Let me go, rock and roll.” These dreamily resigned Pumpkins share more sonic ground with Yo La Tengo than any fist-pumping arena rock bands. That Machina’s mature mood suits the band wonderfully either means that Corgan was growing up or, more likely, that the Pumpkins were breaking up. Either way, Machina is one of the band’s best efforts. (An Internet-only companion, Machina II/The Friends and Enemies of Modern Music, was released in September of 2000. Many of its 25 tracks are alternate versions of Machina items.)

The predictable Greatest Hits offers a fairly even set of singles from the band’s entire career plus two previously unreleased numbers. Fine for the neophyte (what greatest hits package isn’t?), it suffers not because the Pumpkins weren’t a decent singles band, but because touting them as only a singles band misses out on Corgan’s dedication to big album themes and ’70s conceptual grandiosity. (Early pressings contained a bonus disc titled {Judas Ø}: A Collection of B-Sides and Rarities.)

After the Pumpkins disbanded, Corgan took some time off, then collaborated, and toured with, one of his major influences, New Order (Billy-boy contributed the only truly weak track, “Turn My Way,” to New Order’s otherwise brilliant 2001 album, Get Ready).

Corgan then formed a decidedly more upbeat supergroup, Zwan. With Chamberlin back in the fold and guitarists (Matt Sweeney, David Pajo, Billy Burke) with resumes including Tortoise, Slint, Chavez and Skunk on hand, Mary Star of the Sea continues the sunnier path Corgan first explored on Machina. “Lyric,” “Heartsong” and the super-catchy single “Honestly” don’t reveal a true group aesthetic—Corgan still wrote most of the material—than but benefit from the ease that comes from working with seasoned musicians. Nonetheless, Corgan announced the breakup of Zwan in September of 2003.

[David Sprague/Jason Reeher]
See also Chavez

Monday, November 28

Which Trainspotting Character Are You?

Click on the underlined title to take the quiz!

Trainspotting

http://www.imdb.com/title/tt0117951/

Ewan McGregor stars as Mark 'Rent Boy' Renton, a youthful Edinburgh heroin addict who is on a downward spiral of drugs and crime. He frequently wants to quit, and tries to do so from time to time, but always seems to succumb to just one more hit in order to cope with his life. With his friends, he is trapped in a seedy urban underworld in spite of the efforts of his family to get him clean, even against his will. Underneath it all, however, Mark is still seeking to make more of his life, and finds himself facing a choice - staying with his friends in his familiar environment or making a complete break and starting again.

With that in mind, Mark sets out for London to make his fortune, and at first he does well - he successfully gets a job in a property lettings agency and starts to pursue his new life. However, his old friends won't leave him alone. First to arrive from Edinburgh is violent alcoholic Begbie, who is on the run after an armed robbery gone wrong. Soon Mark realises that his old life is going to be hard to leave behind. When the possibility of a major heroin deal tempts the others, Mark finds it impossible to isolate himself from his friends. As he is the only one of the group they all trust to test the drugs, he is also going to have to face temptation again, the hard way.

Based on the 1993 Irvine Welsh novel of the same name, 'Trainspotting' is a gritty, realistic look at the world of the urban drug addict. Although the subject matter could be off-putting, in this film it is handled with surprising sensitivity, neither glamorising drug use nor condemning it. Instead of being a film about drugs, it is really about the characters, all of which are fully developed and extremely well played by an outstanding cast. Young Ewan McGregor shows astonishing emotional depth in this, the breakthrough role that made him an international star - tragic though Mark's circumstances are, there is also a wry humour to it that McGregor communicates effectively. The look of the film, and its direction, perfectly portray both the gritty reality of addiction and the surreal aspects of an addict's life.

GAOTD: New Model Army

www.trouser.press.com

NEW MODEL ARMY
Vengeance (UK Abstract) 1984
No Rest for the Wicked (Capitol) 1985
Better Than Them EP (UK EMI) 1985
The Ghost of Cain (Capitol) 1986
New Model Army (Capitol) 1987
Vengeance/The Independent Story (UK Abstract) 1987 (JCI) 1988
Radio Sessions 83-84 (UK Abstract) 1988
Thunder and Consolation (Capitol) 1989
Impurity (UK EMI) 1990
Raw Melody Men (UK EMI) 1991
History: The Singles 85-91 (UK EMI) 1992
The Love of Hopeless Causes (Epic) 1993
BBC Radio One Live in Concert (UK Windsong) 1993
B Sides and Abandoned Tracks (UK EMI) 1994
Strange Brotherhood (UK Eagle) 1998
... & Nobody Else (UK Attack Attack) 1999
All of This — Live Rarities (UK EMI) 1999
Eight (UK Attack Attack) 2000
History: The Best of New Model Army (UK EMI) 2001

RED SKY COVEN
Volumes 1 & 2 (UK Wooltown) 1996
Volume 3 (UK Wooltown) 1999

JOOLZ
Never Never Land (UK Abstract) 1985
Hex (UK EMI) 1987 (UK Anagram) 1990

A trio vigorously lauded by supporters as the new Clash, New Model Army is long on principle and maintains a fervent, unyielding political stance. Taking primary inspiration from early punk roots (though less abrasive and more melodic), NMA breathes life into the genre, providing a most effective medium for singer/guitarist Slade the Leveller (Justin Sullivan) to deliver his charged messages. The eight angry, vehement cuts on Vengeance rely equally on Stuart Morrow's acrobatic bass lines and Slade's accusatory Cockney rants. Although the intensity wanes near the end, it's an arresting debut.

Morrow left prior to the release of No Rest for the Wicked. Despite his presence on it, the LP lacks the determined ferocity of its predecessor. Some potentially great songs ("My Country," "Grandmother's Footsteps," "No Rest") are forceful enough to have belonged on Vengeance; other tracks swap enthusiasm for overindulgence and suffer as a result. "Better Than Them," a surprising acoustic foray, meanders interminably; the preachy "Shot 18" is simply ridiculous. Without appropriate musical backing, Slade's harsh protests lose their impact, leaning dangerously towards hollow sloganeering.

The Better Than Them EP — a double-pack 45 of the LP track plus three new items — ventures deeper into acoustic territory and shows the Army at ease in these surroundings, but sacrifices the remainder of their vitality in the process. The new songs have the heartfelt honesty that was becoming questionable on No Rest for the Wicked.

The Ghost of Cain presents a revitalized (remobilized?) New Model Army, due in large part to the international success of the protectionist single "51st State," which the album contains. Stabilizing as a three- piece unit refueled the fires of the group's convictions, and made this a most welcome return to form. New Model Army is a stay-the-course sidestep, with three studio tracks ("White Coats" is the standout) and four live cuts ("51st State" is most notable).

Adding a palpable sense of urgency to already strong songs, Radio Sessions '83-'84 provides energetic alternate versions of twelve NMA faves crisply captured live on the radio. Vengeance/The Independent Story appends eight early single sides and a pair of radio takes to the band's first LP. A must for completists, the disc puts the spotlight on Morrow's driving lead bass, which at times suggests the early Cure.

A decade after forming, New Model Army finally released its masterpiece, Thunder and Consolation. The guidance of mainstream producer Tom Dowd on a half-dozen tracks and the occasional presence of a violin do nothing to quell the fury of these electric-folk heroes. In fact, Dowd's sumptuous touches on the epic "Green and Grey" add immeasurable drama to Slade's passionate, opaque lyricism. The songs, on the whole, are the most personal the band has ever recorded — especially the searing "Inheritance," on which Slade manages to not sound foolish chanting a bitter message to his parents over a stark drum track. The CD adds five songs, including New Model Army's three studio tracks and the haunting, heartfelt "Nothing Touches."

On Impurity, NMA retains the previous LP's expressive fiddle, but drops its cinemascopic grandeur, returning instead to the unadorned precision and economy of earlier releases. With new bassist Peter Nelson (ex-Brotherhood of Lizards), the Army metes out a few of its more forthright football-style chants ("Lust for Power," "Get Me Out") and some gentler moments ("Space," "Marrakesh") that strike like a gruffer Billy Bragg. The guys even exhibit an admirable levelheadedness on the sharp, direct "Bury the Hatchet," which offers a neat response to the themes of retribution that made The Ghost of Cain too much like a vigilante's call to arms. All in all, Impurity exemplifies a fervent, trend- bucking band that has remained true to its original goals.

Raw Melody Men (the title is an anagram for New Model Army) is an excellent double-live album which distills the fire burning inside 16 of the band's gritty modern-day folk/punk songs.

Perhaps mindful of the concert record's invigorating sound, The Love of Hopeless Causes (New Model Army's first American release in four years) was waxed live in the studio with Niko Bolas and then mixed by veteran producer Bob Clearmountain, achieving a fine compromise between clarity and rawness. The blasting single "Here Comes the War" alternates between anxious verses and the intense power-chord-fueled chorus: "Put out the lights on the age of reason." A distorted synth-bass riff rolls through the laconic ballad "Living in the Rose," while "These Words" is another intimate acoustic creations ("sometimes your hunger for life seems like desperation"). New Model Army's biggest strength has always been Sullivan's songwriting and bullshit-immune moral fervor, and traditionally styled Army tunes (minor-key bittersweet anthems all) like "Believe It," "White Light" and "Bad Old World" are heavily armed with melody, heart and hooks. Filled with self-questioning and regret, the last of those is an especially well-written and personal observation on friends who have chosen to drop out of urban society and head off for the simple life.

Bold, beautiful and British, modern-day poet Joolz is one of a kind. Though her main arena is literature (she's a published author), she has made a number of records of considerable potency and vision. Following a couple of singles on which she was backed by Jah Wobble's funkisms, Never Never Land is unaccompanied spoken-word, delivered in a style that owes something to John Cooper Clarke. Joolz relays essential thoughts on the bewildering facets of small-town life in Bradford, captures the attitudes and vernacular of UK culture, celebrates love and freedom, and rages at injustice, hypocrisy and betrayal in pieces that are by turns observational, defiant, romantic, satirical and touching. The live closer — a passionate, anti-nuke call-to-arms ("Jerusalem") — strikes a particularly fierce nerve.

The even better Hex adopts a more ambitious tack, with help from Slade the Leveller and drummer Rob Heaton. (Joolz has managed New Model Army and painted its record covers.) The pair provides a sympathetic musical backdrop for her resonant poems — some, like the upbeat "Protection," cross the line to become actual songs. In particular, the moving "Requiem" is beautifully bittersweet; "House of Dreams" is nearly as good. Throughout, the diverse music is exemplary, from pulsing rock'n'roll and synthesizer tapestries to more atmospheric, soundtrack-like compositions. (The Anagram CD adds three single sides also done with New Model Army.)

[Altricia Gethers/Doug Brod/Greg Fasolino]
See also Martin Newell

GSOTD: 51st State of America

http://www.elyricsworld.com

By New Model Army

Look out of your windows, watch the skies
Read all the instructions with bright blue eyes
Were W.A.S.P.s, proud American sons
We know how to clean our teeth and how to strip down a gun
We're the 51st state of America

Our star-spangled Union Jack flutters so proud
Over the dancing heads of the merry patriotic crowd
Tip your hat to the Yankee conqueror
We've got no reds under the bed with guns under our pillows
We're the 51st state of America

Here in the land of opportunity
Watch US revel in our liberty
You can say what you like
But it doesn't change anything
'Cos the corridors of power
Are an ocean away
We're the 51st state of America

Sunday, November 27

Paradise Lost

http://www.nodeathpenalty.org
http://www.wm3.org/splash.php

Justice For The West Memphis Three!

by Andrew Freund

In 1996, the Emmy Award-winning documentary Paradise Lost exposed the many injustices in the 1993 "Satanic ritual" murder trial that convicted the West Memphis Three - Damien Echols, Jessie Misskelley and Jason Baldwin. The documentary revealed the gross misconduct of police, prosecutors and judges in the case of three teenage boys who were wrongfully accused of a grisly triple murder of three 8-year-old boys.

In March 2000, Paradise Lost 2: New Revelations aired on HBO, making an even stronger case that West Memphis police botched evidence, ignored the obvious primary suspect and did everything they could to target Damien Echols as the supposed ringleader of a "cult" whose members didn't even know each other before the day of the killings.

Yet Echols now sits on Arkansas' death row, waiting for his case to be heard by the state supreme court.

The case of the West Memphis Three is filled with injustices (see www.wm3.org for more details). Police extracted a false confession from Misskelley, a mentally handicapped boy. Misskelley was polygraphed and interrogated by police for more than 12 hours with no access to his father or legal counsel. Yet police recorded only the final 20 minutes of the interrogation to capture a "confession."

No physical evidence linked either Echols, Misskelley or Baldwin to the crime, and bite marks on one of the victims didn't match any of the three. Plus, the obvious main suspect, the stepfather of one of the victims, presented documentary filmmakers with a knife stained with blood that matched the type of one of the victims! Even the father of one of the victims said, "I believe the wrong people are in prison for this crime."

An Internet support campaign has grown up around Damien's case, and a number of entertainers have spoken out - from Metallica to Eddie Vedder of Pearl Jam to Trey Parker, the creator of "South Park."

Justice for the West Memphis Three!

Paddington Posters




GSOTD: Lo-Fi

http://www.lyricsmania.com/lyrics

Written by The Paddingtons

You don't need to talk about it
Cause you know fucking never gets you anywhere
There with your inner feelings
Papa dolls, am I hanging from the ceiling
Take your gun and oh pull the trigger
Yeah you know that I've never been bigger
Bigger than you, bigger than me
Go choke yourself on your own jewellery
We're trying to find a rule or frame
Lost the job do you step in line
Care to find the apple's shame
Cause you've had one

This is my way, what is my way, in my, my
This is my way, what is my way, in my mind

But when I think about it
All the noise and it all comes around me
And the people that surround me
Laugh like jokers they all mess around me
Run away and all in the gutter
Real like butter, science to discover
If I mean it, see that you do
All the things that I ever want to do

I'm tired of finding a rule or frame
Lost the job do you step in line
Caretaker finds the apple's shame
Put your breath on

This is my way, what is my way, in my mind
This is my way, what is my way, in my, my

Trying to find a rule or frame
Lost the job do you step in line
Caretaker finds the apple's shame
Put your breath on

This is my way, what is my way, in my mind
This is my way, what is my way, in my, my

GAOTD: The Paddingtons

http://www.thepaddingtons.net

The Paddingtons? Who are they? A fearsome-fivesome from Hull have come out of the maelstrom and into the fire with their debut double A-side single and chart hit: 21 and Some Old Girl are now returning with their already classic hooligan bruiser and forthcoming single of ‘Panic Attack'. Their debut album is being handled by Owen Morris, legendary producer of Oasis' Definitely Maybe.

From touring with the riotous Babyshambles, to opening up for Har Mar Superstar, to having Bez from the Happy Mondays doing his cosmic dance during a Death Disco set or just doing their own thing of frenetic tour-tour-tour in their now legendary white van - swamping the country in a plague of noise and early PIL basslines. They want to do one thing. They are here to bring you the rock. No, not rock as in rock. BUT RAWK.

Their incendiary live shows have become stuff of legend. Alan McGee signed them straight after seeing them live. NME remarked in recent live review: "Lead singer, Tom Paddington is hypodermic-thin, his hair is over his face and he has a nasty sneer. It starts to feel claustophobic, then the drummer shouts, "123AREYOUGOINGTOBEMYGIRL" and the club explodes. These baby-faced speedfreaks leave you feeling like they've force-fed you all the anti-psychotics in your mother's cupboard and kicked you out of a car at five in the morning."

And in this day-and-age what is a poor rock'n'roll band to do? Some evil mothers will always be there, telling them that its all been done before: punk-rock-free-jazz-drone-folk-hip-hop-grime-house ... the list goes on-and-on. But what of reaction rock? With this band it is reaction-action-and then the Paddingtons.

There is no heart ache, no tentative wandering steps down the history of year-zerosim, no neuroticism of punk pop idols wondering how to rock and when. You see, the Paddingtons, just do. They are rock'n'roll. And in their songs there is nothing but thousand-mile-high-thrash of fuzzed-out rock. They play like imitations of teenage christs; whether it be Joey Ramone, The Saints, Pete Doherty, Sex Pistols. With the Paddingtons, the kings are gone and not forgotten. They are eulogised with their songs.

And so what? You may ask us?

The so what is this:

They crank up the adreneline and make the world their own for three minutes. The Paddingtons experience is a 1,000 mph riot of maxed out, sugar-coated electricity, delivered with wired intensity. Tom; vox, Grant; drums, Marv; guitarist, Josh; guitars and Lloyd; bassist welcome you to their world. The world of the Paddingtons.

Bob Roberts

http://www.buzzflash.com

Review by The Film Fan Man

Memory is a funny thing. Sometimes we remember a film as being hysterically funny, or intensely moving, or unbearably suspenseful. In some cases, when we watch it again years later, we marvel at how dry or predictable or yawn-inducing it is.

I found the exact opposite to be true of Bob Roberts, Tim Robbins’ 1992 directorial debut wherein the decidedly liberal actor portrays a right-wing folk singer who runs for a U.S. Senate seat from Pennsylvania in the 1990 Congressional elections. I remembered the film as sharp and satirical, but watching it again I was taken by how dead-on its barbs and insights are. And, unfortunately, how accurately it reflects the present political landscape.

The movie unfolds as a documentary, narrated by British journalist Terry Manchester (stage veteran Brian Murray) as it follows Roberts attempting to unseat incumbent Sen. Brickley Paiste (a delightfully droll Gore Vidal). Along the campaign trail, we meet Lukas Hart III (Alan Rickman, perfectly channeling Karl Rove), Bob's chief political strategist with a closetful of skeletons and an equal number of questionable connections, and Chet MacGregor (Ray Wise), who strives -- but doesn’t always succeed -- in keeping Manchester’s camera trained on exactly what the Roberts campaign wants him to see.

For the most part, Bob’s march to Congress runs smoothly. Fueled by enough dirty politics to make Dick Cheney envious, Roberts and his band of merry men play fast and loose with the facts as they keep one eye on the global money markets. They understand -- and practice -- the dictum of repeating a lie often enough until people believe it’s the truth, and Roberts never misses a chance to ratchet up emotion when it will help obscure any rational consideration of the issues. Why discuss homelessness and poverty when a smear campaign is so much more effective?

Not all is golden, however. Reporter Bugs Raplin (Giancarlo Esposito) is hot on the trail of exposing Hart and his Broken Dove organization as drug-smuggling profiteers, riding the bailout of the Savings & Loan scandal to further line their already deep pockets and put even more well-paid politicians in them. He knows that mainstream media is too corporate to produce true investigative journalism; his admonition that "If you want the truth in this country, you have to seek it out" is just as much a call to arms in 2004 as it was a dozen years ago.

In addition to the film’s keen political observations, the music is absolutely terrific. Robbins plays Roberts as the Bob Dylan of a bizarre parallel universe, right down to his album covers ("The Freewheelin’ Bob Roberts" and "The Times are Changin’ Back") and a delightful parody of "Subterranean Homesick Blues" from D.A. Pennebaker’s documentary Don’t Look Back -- complete with the singer flipping handwritten cards in an alleyway -- called "Wall Street Rap."

Bob Roberts is a who’s who of big-name stars in often brief supporting roles, many of them playing media people in one form or another. Lynne Thigpen is the co-host of a morning show who easily sees through Bob’s façade and tries to take him to task; Peter Gallagher shares the "Good Morning Philadelphia" set but not her political awareness. James Spader, Pamela Reed, Helen Hunt, Susan Sarandon and Fred Ward all play newscasters. A wide-eyed, very Republican-looking Jack Black is one of Bob’s many love-him-or-leave-town supporters, and singer Kelly Willis lends her beautiful voice as Clarissa Flan ("Miss Broken Dove 1989"), who shares the stage with the charismatic candidate. John Cusack also appears as the guest host of an SNL-like show called "Cutting Edge Live," which takes a few well-deserved jabs at mega-conglomerate GE. (Interesting bit of trivia: Robbins and Cusack co-starred in Tapeheads, a 1988 film in which Robbins contributed a song called "Repave Amerika," credited to Bob Roberts. In this film, the song is sung by Roberts and reworked as "Retake America.")

In addition to working with his pals, Bob Roberts was a family affair for Robbins. His two sisters, Gabrielle and Adele, appear onscreen, as does stepdaughter Eva Amurri. Tim and his brother David co-wrote all the songs (save the one that runs over the end credits, an unreleased Woody Guthrie tune). Even though the songs are impressively well-crafted, the brothers have never released a soundtrack; as a matter of fact, Tim specifically wrote into his contract that there would be no soundtrack album because he didn’t ever want the songs heard out of context.

And what a wonderful context Bob Roberts is. It’s said that to be truly effective in arguing any point, one should be equally as convincing taking the opposing view. The theory is that only by thoroughly understanding both sides can you be persuasive in stating your case. Robbins clearly demonstrates his grasp of this principle. By making Roberts such a suave and convincing manipulator, he shows us the depths of deceit to which such a candidate will sink in order to get elected.

A dozen years later, Bob Roberts is easily as relevant as Fahrenheit 9/11. Both deserve a place in your permanent DVD collection.

http://www.sing365.com

Complain by Bob Roberts

Some people must have.
Some people have not.
But they’ll complain and complain and complain and complain and complain.

Some people will work.
Some simply will not.
But they’ll complain and complain and complain and complain and complain.

Like this: It’s society’s fault I don’t have a job.
It’s society’s fault I am a slob.
I have potential no one can see.
Give me welfare. Let me be me!

Hey, Bud, you’re livin’ in the Land of the Free.
No one’s gonna hand you opportunity!

Some people must have.
Some never will.
But they’ll complain and complain and complain and complain and complain.

I don’t have a house. I don’t have a car.
I spend all my money getting’ drunk in a bar.
I wanna be rich. I don’t have a brain.
Just give me a handout while I complain.

Or this: I wanna stay in bed and watch TV.
Go out weekends in a limousine
And dance all night takin’ lots of drugs
And wake up when I wanna.

Hey, Bud, you’re livin’ in the Land of the Free.
No one’s gonna hand you opportunity!

Some people will learn.
Some never do.
But they’ll complain and complain and complain and complain and complain.
Yeah, they’ll complain and complain and complain and complain and complain.

Saturday, November 26

Some Kind of Monster

I saw a portion of this documentary today on MTV2. Very good even though I've never been partial to Metal. Kind of makes you want to download Metallica songs (for free) just to watch Lars blow a gasket. If you haven't already seen this - you should check it out.

http://movies2.nytimes.com/mem/movies

Heavy-Metal Headshrinking and Other Secrets of the Rock 'n' Roll Business

By A. O. SCOTT
Published: July 9, 2004, Friday

Early in 2001, Metallica, one of the longest-lived and most popular heavy-metal bands, went into a converted military barracks in San Francisco to begin working on a new album. The group, which had just lost its bass player, was accompanied by a therapist named Phil Towle, and also by two filmmakers, Joe Berlinger and Bruce Sinofsky, who had used Metallica's music in ''Paradise Lost,'' their 1996 documentary about a murder case in Arkansas. Though the next two years were full of creative and interpersonal struggle, they yielded serendipitous results: a fierce, brooding record called ''St. Anger'' and a fascinating documentary, ''Metallica: Some Kind of Monster,'' which opens today in New York and San Francisco.

At first the idea of a rock band in therapy sounds unlikely, if not downright comical, like ''This Is Spinal Tap'' with a screenplay by Janet Malcolm. And hearing James Hetfield, Metallica's ferocious, sometimes fearsome lead singer, talking about his feelings with Lars Ulrich, the band's baby-faced drummer, can be a little jarring. But Metallica's music is rooted in strong, unruly emotions, and it has been, for many fans, a kind of therapy in its own right.

For nearly 20 years, Mr. Ulrich, Mr. Hetfield and their various band mates have channeled the basic adolescent experiences of alienation, frustration and rage into melodramatic, at times self-consciously mythic squalls of sound. One of the insights ''Some Kind of Monster'' offers is just how much work this transformation requires, perhaps especially when it is undertaken not by teenage rebels but by family men in their early 40's.

The film takes for granted that rock 'n' roll, while it remains the soundtrack of youthful disaffection, has long since become a respectable middle-aged profession. Both Mr. Ulrich and Mr. Hetfield, the band's founding members, who started playing music together in the early 1980's, are married men with young children. They also behave, with each other, like a long-married couple who find themselves bored, dissatisfied and on the rocks.

Mr. Berlinger and Mr. Sinofsky have uncovered the mysterious dynamic of their collaboration, a relationship that is, superficially, both an artistic bond and a business partnership but that is also a deep, bubbling source of identity and anxiety for each man. Mr. Towle, a bald, platitudinous fellow who has soothed the battling egos of professional sports teams, thus becomes a kind of couples therapist for Mr. Ulrich and Mr. Hetfield. They are not the only people in the room -- Kirk Hammett, the band's guitarist, and Bob Rock, the producer and acting bassist, also participate in the sessions and have their own concerns and grievances -- but the band's genius, as well as its dysfunction, seems to grow out of the tension between the drummer and the singer.

It takes a while for this central drama to take shape -- a little too long, actually. The first 30 minutes or so of ''Metallica'' have the flavor of a standard behind-the-scenes rockumentary. But soon the bad feelings rise to the surface, and by the time Mr. Hetfield disappears into rehab to conquer his drinking problem (and also, evidently, to get away from Mr. Ulrich, with whom he has no communication for six months), you realize you are witnessing a psychodrama of novelistic intricacy and epic scope.

There are a few flashbacks to earlier days of big hair and tight leather, and some necessary digressions into the band's tumultuous history, but ''Some Kind of Monster'' wisely sticks to the complications of the present tense. Mr. Hetfield's absence shifts the focus to Mr. Ulrich, who begins to seem more tormented than his partner and less inclined to admit it. When Mr. Hetfield returns, newly sober and adept at the rhetoric of recovery, Mr. Ulrich seems angrier than ever, and you wonder if the movie will ever be finished, or if the band will survive.

As it becomes clear that it will, ''Some Kind of Monster'' retreats a little into backstage business as usual: a new bassist needs to be hired, and tracks need to be polished and selected for the album, which needs a title. We are back in the world of MTV news, which may come as a relief after the long, purgatorial passage through group therapy. By the end, Mr. Towle has worn out his welcome, which may be a sign of his professional accomplishment. When Mr. Ulrich and Mr. Hetfield, at odds for so long, unite in turning against their therapist, it's hard to fight the feeling that he has it coming and that, therefore, he has done his job.

METALLICA
Some Kind of Monster

Produced and directed by Joe Berlinger and Bruce Sinofsky; director of photography, Bob Richman; edited by David Zieff; released by IFC Films. Running time: 139 minutes. This film is not rated.

GSOTD: A Boy Named Sue

http://www.toptown.com/hp/66/sue.htm

My daddy left home when I was three
And he didn't leave much to ma and me
Just this old guitar and an empty bottle of booze.
Now, I don't blame him cause he run and hid
But the meanest thing that he ever did
Was before he left, he went and named me "Sue."

Well, he must o' thought that is quite a joke
And it got a lot of laughs from a' lots of folk,
It seems I had to fight my whole life through.
Some gal would giggle and I'd get red
And some guy'd laugh and I'd bust his head,
I tell ya, life ain't easy for a boy named "Sue."

Well, I grew up quick and I grew up mean,
My fist got hard and my wits got keen,
I'd roam from town to town to hide my shame.
But I made a vow to the moon and stars
That I'd search the honky-tonks and bars
And kill that man who gave me that awful name.

Well, it was Gatlinburg in mid-July
And I just hit town and my throat was dry,
I thought I'd stop and have myself a brew.
At an old saloon on a street of mud,
There at a table, dealing stud,
Sat the dirty, mangy dog that named me "Sue."

Well, I knew that snake was my own sweet dad
From a worn-out picture that my mother'd had,
And I knew that scar on his cheek and his evil eye.
He was big and bent and gray and old,
And I looked at him and my blood ran cold
And I said: "My name is 'Sue!' How do you do!
Now your gonna die!!"

Well, I hit him hard right between the eyes
And he went down, but to my surprise,
He come up with a knife and cut off a piece of my ear.
But I busted a chair right across his teeth
And we crashed through the wall and into the street
Kicking and a' gouging in the mud and the blood and the beer.

I tell ya, I've fought tougher men
But I really can't remember when,
He kicked like a mule and he bit like a crocodile.
I heard him laugh and then I heard him cuss,
He went for his gun and I pulled mine first,
He stood there lookin' at me and I saw him smile.

And he said: "Son, this world is rough
And if a man's gonna make it, he's gotta be tough
And I knew I wouldn't be there to help ya along.
So I give ya that name and I said goodbye
I knew you'd have to get tough or die
And it's the name that helped to make you strong."

He said: "Now you just fought one hell of a fight
And I know you hate me, and you got the right
To kill me now, and I wouldn't blame you if you do.
But ya ought to thank me, before I die,
For the gravel in ya guts and the spit in ya eye
Cause I'm the son-of-a-bitch that named you "Sue.'"

I got all choked up and I threw down my gun
And I called him my pa, and he called me his son,
And I came away with a different point of view.
And I think about him, now and then,
Every time I try and every time I win,
And if I ever have a son, I think I'm gonna name him
Bill or George! Anything but Sue! I still hate that name!

By: Shel Silverstein
Recorded by J.R. Cash on 2/24/69

GAOTD: Johnny Cash

http://en.wikipedia.org/wiki/Johnny_Cash

John Ray Cash (February 26, 1932 – September 12, 2003) was a vastly influential American country music singer, guitarist, and songwriter.

Cash was known for his distinctive voice, the boom chicka boom sound of his Tennessee Two backing band, and his dark clothing and demeanor, which earned him the nickname "The Man in Black". He always started his concerts with the simple introduction, "Hello, I'm Johnny Cash."

Fueled by his own rocky personal life and spiritual path, much of Cash's music, especially that of his later career, echoed themes of sorrow, moral tribulation and redemption. Hits include "I Walk the Line", "Folsom Prison Blues", "Ring of Fire", "Man in Black" and "Hurt". However, he also recorded several humorous songs, such as "One Piece At A Time", "The One on the Right is on the Left" and "A Boy Named Sue".

In a career that spanned almost five decades, Cash was the personification of country music to many people around the world, despite his distaste for the Nashville mainstream. Yet, like Bob Dylan and Elvis Presley, Cash is a figure who transcends genre. He has recorded songs that could be considered rock and roll, blues, rockabilly, folk and gospel, and has exerted an influence on each of those genres. Cash is one of ten performers to be inducted into both the Rock and Roll Hall of Fame and the Country Music Hall of Fame alongside Jimmie Rodgers, Hank Williams Sr., Bill Monroe, Bob Wills, Elvis Presley, The Everly Brothers, Brenda Lee, Chet Atkins and Floyd Cramer, as well as Cash's first producer and discoverer, Sam Phillips of Sun Records. His pioneering contribution to the genre has been recognized by the Rockabilly Hall of Fame.

Early life

By age five Cash was working in the cotton fields, singing along with his family as they worked. The family farm was flooded on at least one occasion, which later inspired him to write the song "Five Feet High And Rising." Cash was very close to his brother Jack. In 1944, an accident occurred that affected Johnny Cash for the rest of his life; Jack was pulled into a whirring table saw in the mill where he worked, and almost cut in two. He suffered for over a week before he died. Cash always talked of the horrible guilt he felt over this incident because he had gone out fishing that day. On his deathbed, Jack said he had visions of heaven and angels before he died. Almost sixty years later, Johnny still talked of looking forward to meeting his brother in Heaven. His early memories were dominated by gospel music and radio. He began playing guitar and writing songs as a young boy, and in high school sang on a local radio station. He was dubbed "John" upon enlisting as a radio operator in the Air Force, which refused to accept initials as his name. Thereafter, he was known as Johnny and sometimes as John R. While an airman in West Germany, Cash wrote one of his most famous songs, "Folsom Prison Blues" after seeing the B-Movie Inside the Walls of Folsom Prison.

Early career

After his term of service ended, Cash married Vivian Liberto in 1954 and moved to Memphis, Tennessee, where he sold appliances while studying to be a radio announcer. At night, he played with guitarist Luther Perkins and bassist Marshall Grant (the Tennessee Two). Cash worked up the courage to visit the Sun Records studio, hoping to garner a recording contract. Sun producer Cowboy Jack Clement met with the young singer first, and suggested that Cash return to meet producer Sam Phillips. After auditioning for Phillips, singing mainly gospel tunes, Phillips told him to "go home and sin, then come back with a song I can sell". Cash eventually won over Phillips and Clement with new songs delivered in his early frenetic style. His first recordings at Sun, "Hey Porter" and "Cry Cry Cry", were released in 1955 and were met with reasonable success on the country hit parade.

Cash's next record, Folsom Prison Blues, made the country Top 5, and "I Walk the Line" was number one on the country charts, making it into the pop charts Top 20. In 1957, Johnny Cash became the first Sun artist to release a long-playing album. Though Sun's most consistently best-selling and prolific artist at that time, Cash began to feel constrained by his contract with the small label. Elvis Presley had already left the label, and Phillips was focusing most of his attention and promotion on Jerry Lee Lewis. The following year, Cash left Sun to sign a lucrative offer with Columbia Records, where his single "Don't Take Your Guns to Town" would become one of his biggest hits.

In 1955, his daughter, singer Rosanne Cash, was born. Though he would have three more daughters (Kathy, Cindy, and Tara) with his wife, their relationship began to sour, as Johnny was constantly touring. It was during one of these tours that he met June Carter, whom he married in 1968. By June's account, in the liner notes to the compilation album Love (2000), the song "I Still Miss Someone" was written about her.

Drug Addiction

As his career was taking off in the early 1960s, Johnny Cash became addicted to amphetamines and barbiturates. Friends joked about his "nervousness" and erratic behavior, many ignoring the signs of his worsening drug addiction. For a brief time, Cash shared an apartment in Nashville with Waylon Jennings, who was also heavily addicted to amphetamines. Though in many ways spiraling out of control, his frenetic creativity was still delivering hits. His song "Ring of Fire" was a major crossover hit, reaching number one on the country charts and entering the Top 20 on the pop charts. The song was co-written by June Carter and Merle Kilgore and originally performed by Carter's sister, but the signature mariachi-style horn arrangement was conceived by Cash, who claimed to have heard it in a dream. The song, written about Cash, describes the personal hell Carter went through as she wrestled with her forbidden love for Cash (they were both married to other people at the time) and as she dealt with Cash's personal "ring of fire" (drug dependency and alcohol abuse)

Although he carefully cultivated a romantic outlaw image, many fans are surprised to learn that he never served a prison sentence, though his wild activities and misdemeanors landed him in jail seven times, all for one night. His most serious run-in with the law occurred while on tour in 1965, when he was arrested by the narcotics squad in El Paso, Texas. Though the officers suspected that he was smuggling heroin from Mexico, he was actually smuggling illegal amphetamines inside his guitar case. He only received a suspended sentence. He was also arrested the next year in Starkville, Mississippi for trespassing late at night onto private property to pick flowers. More notably, he voluntarily entered several prisons to perform a series of concerts for convicts, for whom he felt a great compassion.

The mid 1960s saw Cash release a number of concept records, including Ballads Of The True West (1965) — an experimental double record mixing authentic frontier songs with Cash's spoken narration, let down by the modern arrangements — and Bitter Tears (1964), with songs highlighting the plight of the American Indians. However, his drug addiction deepened, and his destructive behaviour led to a divorce and numerous problems performing.

For his album Bitter Tears, Cash recorded "The Ballad of Ira Hayes", a Peter LaFarge song that told the true story of a Pima Indian who was one of the Marine heroes of the epic WWII battle at Iwo Jima. Despite his heroism, Hayes returned home to crushing despair and racial prejudice: "Ira Hayes returned a hero, celebrated throughout the land / He was wined and speeched and honored, everybody shook his hand / But He was just a Pima Indian, no water, no home, no chance / At home nobody cared what Ira had done, and when do the Indians dance?" Though "The Ballad of Ira Hayes" was a No. 3 country single, many stations refused to play it, deeming it too risky. Cash took out a full-page ad in Billboard denouncing country radio for its reluctance. "'Ballad of Ira Hayes' is strong medicine," he wrote. "So is Rochester, Harlem, Birmingham, [referring to then-recent race riots] and Vietnam."

Personal problems and calamity followed him to his new home on Old Hickory Lake in Hendersonville, Tennessee (outside of Nashville). His longtime guitarist, Luther Perkins, died in a house fire in August 1968. Less than two months later, the home of his next door neighbor and close friend, Roy Orbison, burned down, claiming the lives of two of Orbison's three young sons. Cash was profoundly affected by these incidents, and he attempted to take the first steps on the long, hard road to recovery. He locked himself in his home and underwent detox, relying heavily on his friends and June Carter and her parents Ezra and Maybelle (members of the Carter Family). He would soon marry June Carter. The love ballad "Flesh and Blood" is one of the first of many songs Cash would write about his lifelong love for his wife.

Over the next two years, he recorded and released two massively successful live albums, Johnny Cash at Folsom Prison (1968) and Johnny Cash at San Quentin (1969). The Folsom Prison record was charged by a blistering rendition of his classic "Folsom Prison Blues", while the San Quentin record included the crossover hit single "A Boy Named Sue", a Shel Silverstein-penned song that reached number one on the country charts and number two on the US Top Ten pop charts. Shortly after his historic concert at Madison Square Garden in the last days of the 1960s, his son John Carter Cash was born.

After he quit drugs in the 1960s and early 1970s, he rediscovered his Christian faith, taking an "altar call" in Evangel Temple, a small church in the Nashville area.

"The Man in Black"

From 1969 to 1971, he starred in his own television show on the ABC network. The singing group The Statler Brothers got their start on Johnny's show, opening up for him in every episode. Notable rock artists appeared on his show, including Neil Young, The Monkees and Bob Dylan. Cash had been an early supporter of Dylan even before they had met, but they became friends while they were neighbors in late 1960s in Woodstock, New York. Cash was enthusiastic about reintroducing the reclusive Dylan to his audience. In addition to the appearance on his TV show, Cash sang a duet with Dylan on his country album Nashville Skyline, and also wrote the album's Grammy-winning liner notes. Another artist who received a major career boost from The Johnny Cash Show was songwriter Kris Kristofferson. During a live performance of Kristofferson's "Sunday Morning Coming Down", Cash made headlines when he refused to change the lyrics to suit network executives, singing the song with its controversial references to marijuana intact: "On the Sunday morning sidewalks / Wishin', Lord, that I was stoned".

Immensely popular, and an imposing tall figure, by the early 1970s he had crystallized his public image. He regularly performed dressed all in black, wearing a long black knee-length coat, causing him to be dubbed "The Man in Black". This outfit stood in stark contrast to the costumes worn by most of the major country acts in his day – rhinestone Nudie suits and cowboy boots. In 1971, Johnny wrote the song "Man in Black" to help explain his dress code: "I wear the black for the poor and the beaten down, / Livin' in the hopeless, hungry side of town, / I wear it for the prisoner who has long paid for his crime, / But is there because he's a victim of the times."

In the mid-'70s, Cash's popularity and hit songs began to decline, but his autobiography, titled Man in Black, was published in 1975 and sold 1.3 million copies. (A second, Cash: The Autobiography, appeared in 1998). His friendship with Billy Graham led to the production of a movie about the life of Jesus, The Gospel Road, which Cash co-wrote and narrated. The decade saw his religious conviction deepening, and in addition to his regular touring schedule, he made many public appearances in an evangelical capacity. He also continued to appear on television, hosting an annual Christmas special on CBS throughout the 1970s. Later television appearances included a role in an episode of Columbo, as well as a recurring role on Dr. Quinn, Medicine Woman. He did a voice cameo on The Simpsons in the show's eighth season, playing the voice of a coyote that guides Homer on a spiritual quest [in episode 3F24]. He also appeared with his wife, June Carter, on an episode of Little House on the Prairie entitled "The Collection" and gave a stirring performance as John Brown in the 1980's Civil War television mini-series "North and South".

Highwaymen

In 1980, Cash became the Country Music Hall of Fame's youngest living inductee at age 48, but during the 1980s his records failed to make a major impact on the country charts, though he continued to tour successfully. In the mid-1980s he recorded and toured with Waylon Jennings, Willie Nelson and Kris Kristofferson as The Highwaymen, making two hit albums.

It was also in this period that Johnny Cash appeared as an actor in a number of television films. In 1981, he starred in The Pride Of Jesse Hallam. Cash won fine reviews for his work in this film that called attention to adult illiteracy. In 1983, Cash also appeared as a heroic sheriff in Murder In Coweta County, which co-starred Andy Griffith as his nemesis. This film was based on a real life Georgia murder case; Cash had tried for years to make the film, which would win him acclaim.

Cash relapsed into addiction after a serious stomach injury in 1983 (sustained in a fight with an ostrich at his exotic animal park) led him to abuse painkillers. [1] During his recovery at the Betty Ford Clinic in 1986, he met and befriended Ozzy Osbourne, one of his son's favorite singers. At another hospital visit in 1988, this time to watch over Waylon Jennings (who was recovering from a heart attack), Jennings suggested that Cash have himself checked in to the hospital for his own heart condition. Doctors recommended preventive heart surgery for Cash, and he underwent double bypass surgery in the same hospital. Both recovered, though Cash refused to use any prescription painkillers, fearing a relapse into dependency. Cash later claimed that during his operation, he had what is called a "near death experience". He said he had visions of Heaven that were so beautiful that he was angry when he woke up alive.

As his relationship with record companies and the Nashville establishment soured, he occasionally lapsed into self-parody, notably on "Chicken In Black". After being dropped from his recording contract with Columbia Records, he had a short and unsuccessful stint with Mercury Records.

In 1986 Cash published his only novel, Man in White, a book about Saul and his conversion in becoming the Apostle Paul. That same year, he returned to Sun Studios in Memphis to team up with Roy Orbison, Jerry Lee Lewis, and Carl Perkins to create the album, Class of '55. This was not the first time he had teamed up with Lewis and Perkins at Sun Studios. On December 4, 1956 Elvis Presley dropped in on Phillips to pay a social visit while Perkins was in the studio cutting new tracks with Lewis backing him on piano. The three started an impromptu 'jam session' and Phillips left the tapes running. He later telephoned Cash and brought him in to join the others. These recordings, almost half of which were gospel songs, survived and have been released on CD under the title Million Dollar Quartet. Tracks also include Chuck Berry's "Brown Eyed Handsome Man", Pat Boone's "Don't Forgive Me" and Elvis doing an impersonation of Jackie Wilson (who was then with Billy Ward and the Dominoes) singing "Don't Be Cruel".

American recordings

His career was rejuvenated in the 1990s. In 1993, he sang the vocal on U2's "The Wanderer" for their album "Zooropa". Then, although he was unwanted by major labels, he was approached by producer Rick Rubin and offered a contract with Rubin's American Recordings label, better known for rap and hard rock than for country music. Under Rubin's supervision, he recorded the album American Recordings (1994) in his living room, accompanied only by his guitar. The video for the first single, the traditional song "Delia's Gone", was put into rotation on MTV, including a spot on Beavis and Butt-head. The album was hailed by critics and many declared it to be his finest album since the late 1960s, while his versions of songs by more modern artists such as heavy metal band Danzig and Tom Waits helped to bring him a new audience. American Recordings received the Grammy for Contemporary Folk Album of the Year at the 1994 Grammy Awards. Cash wrote that his reception at the 1994 Glastonbury Festival was one of the highlights of his career. This was the beginning of a decade of music industry accolades and surprising commercial success. In addition to this, Cash and his wife appeared on a number of episodes of the popular television series Dr. Quinn, Medicine Woman starring Jane Seymour. The actress thought so highly of Cash that she later named one of her twin sons after him.

For his second album with Rubin, 1996's Unchained, Cash enlisted the accompaniment of Tom Petty and the Heartbreakers. In addition to many of Cash's own compositions, Unchained contained songs by Soundgarden ("Rusty Cage") and Beck ("Rowboat"), as well as a guest appearance from Flea, bassist for the Red Hot Chili Peppers. The album also included a cover of a classic 1962 Hank Snow song called "I've Been Everywhere". Despite being virtually ignored by country music radio and the Nashville establishment, Unchained received a Grammy for "Best Country Album". Cash and Rubin bought a full-page ad in Billboard magazine sarcastically thanking the country music industry for its continued support, accompanied by a picture of Cash displaying his middle finger.

Sickness and death

In 1997 Cash was diagnosed with the neurodegenerative disease Shy-Drager syndrome — a diagnosis that was later altered to autonomic neuropathy, associated with diabetes — and his illness forced him to curtail his touring; he was hospitalised in 1998 with severe pneumonia, which damaged his lungs. The album American III: Solitary Man (2000) contained his response to the illness, typified by a version of Tom Petty's "I Won't Back Down", as well as a powerful reading of U2's "One". American III: Solitary Man, just like Cash's two previous albums produced by Rick Rubin, was a Grammy winner, taking home the award for the Best Country Male Vocal Performance for Cash's version of the Neil Diamond classic "Solitary Man".

Cash released American IV: The Man Comes Around (2002), consisting partly of original material and partly of covers, some quite surprising. The video for "Hurt", a song written by Trent Reznor of Nine Inch Nails, was nominated in seven categories at the 2003 MTV Video Music Awards and won the award for Best Cinematography. In February 2003, mere days before his 71st birthday, Cash won another Grammy, Best Country Male Vocal Performance for "Give My Love To Rose", a song Cash originally recorded in the late 1950's. The music video for "Hurt", hailed by many critics and fans alike as the most personal and moving music video in history, also won a Grammy for Best Short Form Video at the 2004 Grammy Awards.

His wife, June Carter Cash, died due to complications following heart valve replacement surgery on May 15, 2003 at the age of 73.

Less than four months after his wife's death, Johnny Cash died at the age of 71 due to complications from diabetes, which resulted in respiratory failure, while hospitalized at Baptist Hospital in Nashville, Tennessee. He was interred next to his wife in Hendersonville Memory Gardens near his home in Hendersonville, Tennessee.

Legacy

From his early days as a pioneer of rockabilly and rock and roll in the 1950s, to his decades as an international representative of country music, to his resurgence to fame as both a living legend and an alternative country icon in the 1990s, Cash has influenced countless artists and left a body of work matched only by the greatest artists of his time. Upon his death, Cash was revered and eulogized by many of the greatest popular musicians of our day, whose comments on the man and his work reflect something of the esteem in which he was held:

"Every man knows he is a sissy compared to Johnny Cash." — Bono

"In plain terms, Johnny was and is the North Star; you could guide your ship by him — the greatest of the greats then and now." — Bob Dylan

"Abraham Lincoln with a wild side." — Kris Kristofferson

"Johnny Cash transcends all musical boundaries, and is one of the original outlaws." — Willie Nelson

"[Cash] took the social consciousness of folk music, the gravity and humor of country music and the rebellion of rock 'n' roll, and told all us young guys that not only was it all right to tear up those lines and boundaries, but it was important." — Bruce Springsteen

Cash nurtured and defended artists on the fringes of what was acceptable in country music, even while serving as the country music establishment's most visible symbol. At an all-star concert in 2002, a diverse group of artists paid him tribute, including Bob Dylan, Chris Isaak, Wyclef Jean, Norah Jones, Kris Kristofferson, Willie Nelson, and U2. Two tribute albums were released shortly before his death; Kindred Spirits contains works from established artists, while Dressed In Black contains works from many lesser-known artists.

Though he wrote over a thousand songs and released dozens of albums, his creative output was not entirely silenced by his death. A box set, ironically titled Unearthed, was issued posthumously. It included four CDs of unreleased material recorded with Rubin, as well as a "Best of Cash on American" retrospective CD. American V, his final album, will be released posthumously.

In recognition of his lifelong support of SOS Children's Villages, his family invited friends and fans to donate to that charity in his memory. He had a personal link with the SOS village in Ammersee in Diessen, Germany, near where he was stationed as a GI, and also with the SOS village in Barrett Town, by Montego Bay near his holiday home in Jamaica. The Johnny Cash Memorial Fund was founded and contributions can be made here.

Walk the Line, a movie about Johnny Cash's life starring Joaquin Phoenix as the late Johnny Cash and Reese Witherspoon as the late June Carter was released in the U.S. on November 18, 2005.

Awards

Johnny Cash was inducted into the Country Music Hall of Fame in 1980 and the Rock and Roll Hall of Fame in 1992. In 1996 he was honored with a Kennedy Center Award, and he has a Star on the Hollywood Walk of Fame at 6320 Hollywood Blvd. He is a member of the Songwriters Hall of Fame. Cash was one of the initial recipients of the Library of Congress Living Legend medal in 2000. In 2002, he was honored at the Americana Awards show with a "Spirit of Americana Free Speech Award". He shares the honor with Hank Williams Sr. for being a full member of the three major music halls of fame:Rock and Roll Hall of Fame, Country Music Hall of Fame, and the Songwriters Hall of Fame.

Grammys
1967 — Best Country & Western Performance, Duet, Trio Or Group, "Jackson" (with June Carter)
1968 — Best Album Notes, Johnny Cash At Folsom Prison
1970 — Best Album Notes, Nashville Skyline
1970 — Male Vocalist of the Year
1970 — Best Country Performance by a Duo or Group with Vocal, "If I Were A Carpenter", with June Carter Cash
1987 — Best Spoken Word or Non-musical Album, Interviews From the Class of '55 Recording Sessions, with Carl Perkins, Chips Moman, Jerry Lee Lewis, Johnny Cash, Ricky Nelson, Roy Orbison and Sam Phillips
1991 — Living Legend Award
1994 — Best Folk Album, American Recordings
1998 — Best Country Album, Unchained
1999 — Lifetime Achievement
2000 — Best Country Male Vocal, "Solitary Man"
2002 — Best Country Album, Timeless: Hank Williams Tribute (Cash contributed a cover of "I Dreamed About Mama Last Night")
2003 — Best Country Male Vocal, "Give My Love To Rose"
2003 — Best Short Form Video, "Hurt", with Mark Romanek

MTV Video Music Awards
Best Cinematography for "Hurt".