This is another beautiful song from Bonnie ‘Prince’ Billy, this time in collaboration with Matt Sweeney (who adds something of an electric blues edge to things). Gemma and I were lucky enough to see the dynamic duo touring the album ‘Superwolf’ and enjoyed a truly magical concert, featuring many tracks from the album as well as some classics. When, pray, will Bonnie ‘Prince’ Billy be back in Barcelona?
[youtube]http://www.youtube.com/watch?v=s4sCuYiK2Eg[/youtube]
Now this is a great song. Recorded originally as Palace, this is taken from Bonnie ‘Prince’ Billy Sings Palace Greatest Hits. Yeah, he covered himself. Great, huh?
The video was made by Scottish artist, David Shrigley.
[youtube]http://www.youtube.com/watch?v=ua8uVJNJcgQ[/youtube]
An homage to truckers (but not in the way Mark E. Smith would have done it), Horses isn’t my favourite Bonnie ‘Prince’ Billy song, but it’s as good a place as any to start.
Music geek note: the video starts with the Domino Records logo. BPB is actually on Drag City Records (my all time favourite gang). Domino are the UK label.
[youtube]http://www.youtube.com/watch?v=RnhKUm4HitU[/youtube]
I’m a big fan of Will Oldham, a singer-songwriter who has worked under various monikers including Palace, Palace Music and the most recent: Bonnie ‘Prince’ Billy. I’m going to post a few YouTube videos over the next few days which will highlight his genius and beard.
This is a song by Jeffrey Lewis, another singer-songwriter who is described as being ‘anti-folk’, whatever the hell that might mean. It’s something of a classic, being a tribute to Will Oldham and featuring a Will Oldham look-alike.
[youtube]ZwGhPnsCjDg[/youtube]
It takes a lot of balls to name your band with a reference to The Fall. These New Puritans (apparently abbreviated to TNPS, though I prefer the simpler ‘Turnips’) have done just that and after they were featured in the Guardian the other day, I thought I’d check them out. You know, see whether they live up to their name.
The answer is: no, they don’t. They’re basically a mixture of Franz Ferdinand and The Klaxons – and not the best bits of either band, for that matter. I’ve been intrigued by several newspapers and websites referring to them as actually sounding like The Fall. I figure this was more lazy journalism than impossible fantasy: These New Puritans have nothing of Mark E. Smith’s vitriolic wit or poetry, let alone a proper-sounding jangly guitar. In Numbers, the lyrics go “What’s your favourite number? / What does it mean? / Number 1: the individual / Number 2: duality / Number 3: …numerology is all shit”. Talking about the song, lead singer Jack Barnett says, “It’s our attempt to recreate numerology in a song. It’s a pop song with a dubby beat. But I say “numerology is all shit”, so it’s all deconstructed immediately”. Hmmm.
Anyway, here’s Elvis, another of their songs.
[youtube]http://www.youtube.com/watch?v=lzHwRcOsDNw[/youtube]
A great song to start your weekend to: Victoria performed by The Fall. One of the great cover versions, in my opinion.
Sometimes people question whether the Internet is actually at all useful or if it’s full of silly rubbish clogging up our minds like cholesterol. To those people, I say: without the Internet, we wouldn’t have YouTube. And without YouTube, we wouldn’t have Hairdresser.
It has been a great week for live music in Barcelona. As well as the ever popular Wilco (who I didn’t go and see), the two most notable concerts were by very different acts. Jazz legend Ornette Coleman played the Palau de la Música Catalana on Wednesday evening and Welsh indie favourites Manic Street Preachers played the new Espacio Movistar on Friday.
The term genius is certainly bandied around too often. But that’s what Ornette Coleman is, so forgive me my use of this tainted word. Coleman, for those who don’t know, is one of the last surviving jazz legends of the late 50s, a time when Western music was changed forever by a small group of men working mostly in New York City. A Texan, Coleman (and his quartet) performed a now legendary two month residency at the Five Spot Café, and revolutionised jazz music. Despite having learned to play the saxophone ‘wrong’, the music he and his band created and performed was a sharp break with the current output of scene leaders, Miles Davis and John Coltrane. Davis hated Coleman, which is probably as much of an accolade as anyone could wish for.
At 80 years old, I must say that I was worried that Ornette Coleman would be a talent diluted somewhat by age. I shouldn’t have worried: though physically quite frail, he played with a power and tenderness which was truly captivating. The band, a five piece, was interesting, consisting of two bass players, and electric bass and Ornette’s son on drums. At the centre sat the master, who led us though several numbers from their new album, Sound Grammar. As well as this, he performed a few of his classic pieces from the old days, including the astoundingly good Lonely Woman (a personal favourite). The venue is OK: beautiful looking, but the acoustics aren’t perfect and the seats are damned uncomfortable. The concert was magnificent, however, and I remarked to Gemma as we left that I might never attend another gig, Ornette Coleman was that good.
But statements like that don’t last long in Barcelona. The very next day, while browsing the internet working, I stumbled upon information about a Manic Street Preachers gig in Barcelona on Friday. Looking further into it, I discovered that it was a concert especially for Telefonica Movistar mobile network customers, and that it was free! To get hold of a ticket, you needed to be a Movistar customer. By sending a text message to a special number, you’d receive a code to be presented at the entrance to the venue. Awesome! But I’m a Vodafone customer and my (admittedly foolish) attempts to trick the system by using my Vodafone account failed miserably. So my friend Nick hatched a plan to get all the Movistar customers he knew to send a text to the special number, and then forward the response on to him. He sent me a code, we queued and we got in. For free!
There was no support band, so after buying several very expensive beers from an impressively busty (though slightly inept) barmaid, the lights went down and we awaited the gig. I was expecting a concert built around the band’s new album (again), but was pleasantly surprised when it turned out that we to experience a greatest hits concert, with all the Manic’s most famous songs performed in what felt like quite an intimate setting. So we had You Love Us, Motorcycle Emptiness, A Design For Life, If You Tolerate This Your Children Will Be Next and the rest of their best songs . The band seemed to enjoy themselves, despite the fact that most of the audience seemed to be moderately bemused (though excitable) students. We had a great time and Nick managed to get some pretty good footage of the gig.
In all, a great week for live music. There’s no doubt that Ornette’s was the most impressive and exciting, but to see the Manics performing as well really capped things off. I love this town.
Ornette Coleman, Palau de la Música Catalana, Nov 7 – 1/1
Manic Street Preachers, Espacio Movistar, Nov 9 – 1/1
Any fans of jazz in Barcelona should definitely put November 7th in their diaries: Ornette Coleman, he of the ‘toy trumpet’ and founding father of Free Jazz, is playing at the Palau de la Musica.
I’m no sure what to expect from the concert… I love some of his older albums like Something Else! and The Shape Of Jazz To Come but I don’t know whether he plays any of the classics from them any more. Either way, it’s sure to be a magical evening with a true grand old man of jazz. At 80, I guess that it won’t be quite as blistering as in the late 1950’s, but who knows?
Those of you in Barcelona who might not be sure, I recommend you come to check him out: he’s a genius. I wrote something here about Harmolodics, the music theory he created.
Ornette Coleman, November 7th, Palau de la Música, 21hrs. Tickets: € 28-60
Update: See my review of Ornette Coleman’s Barcelona concert here!
Regular visitors to thebadrash.com (yes, both of you) may have noticed the image I have in my sidebar. The words (and the intention) are fairly clear: “This machine kills fascists”. What may not be immediately obvious is the source of the image. It’s a cropped version of a great photo of Woody Guthrie, the slogan sellotaped to his guitar.
I’ve long had a great respect for Guthrie. His songs about the country, the working class and especially the Spanish Civil War are simple, sweet and genuinely life affirming. Sadly, many of my favourite songs (like the one about the battle for the valley of Jarama) were recorded either on a tight budget or live, with bad equipment. Guthrie, of course, was one of Bob Dylan’s greatest influences – and while I adore numerous Dylan songs, Guthrie came from a simpler time when the fight for workers’ rights still felt like it could be won.
The concept of a guitar killing fascists came so far before the popular rock bands of the 1960’s. Its representation of the idea of expression destroying repression is still valid today. I wonder if you can buy his records in China.
I’ve always thought that musicians like Ted Nugent who openly eschew the rock’n’roll philosophy are cheating themselves as much as they cheat the people who buy their records. Whether they like or not, they owe their careers to the work of people like Woody Guthrie and Bob Dylan. They remind me of the fascists who sometimes demonstrate in Madrid: there’s something weird about right wingers adopting the discourse of the left to promote their ideas. I’m not trying to claim ownership of a means of protest. I just think it’s kind of perverse when arseholes use methods they’d happily ban if they had the chance.
Nugent, incidentally, is a fairly odd individual. His music is terrible, he’s involved in ‘hunting’ trips which consist of killing creatures whose meat isn’t eaten, and he obtained custody of a 17 year-old girl so he could continue fucking her. Like I say, odd chap.