What album/song are you addicted to atm?

I fell behind. New to me, but I dig these guys

[video]https://youtu.be/4ImL9tpjS5U[/video]




I swear I did this correct. Anyway, this is Pigons playing ping pong. F U
 
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Are they eating pizza too?

Yeah, I'm getting this kind of "belgian" youtube link if I right click on the video and copy url...only search results are pasted correctly here, copying the link to something you wanna share from a search.
 
Gotta love QMS; I bought one of their records at the local vinyl shop (Just for Love) on a whim because the artwork was far out, and it lead me to many, many more great tunes :)
 
Heh, Crass. They had zero musical talent, even if they hold the record for the longest punk song (21 minutes something, NOFX got to 18:47 or something with The Decline). But their art and lyrics although serious were pretty funny. Propagandhi kept that aspect in their stuff, although the art is sometimes very gruesome, the inside of Potemkin City Limits being basically a graphical description (drawings) of how pork is fed, killed, processed etc.



Funny how the song PCL is actually on the album that came after, I guess they didn't finish it on time for the album itself in 2005, that's from Supporting Cast(e) in 2009.
 
^Sweeetness.:)


Phil Motherfuckin Collins.

Lost numbers=lost souls.%)=D

 
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fine yall, just don't let anyone tell you Elvis wasn't on some epic shit;

first, a song about one bad ass chick—



(n.b., "polk sallet" ≠ "pork sallet (or, salad)" ≠ "polk salad," the latter of which, viz., unprepared Phytolacalla am. spp., should be known to the interest of the Bluelight perusing public, as toxic, although not as far as I can tell psychoactive; although, allegedly people have died after having tried to consume "polk salad" after Elvis or the earlier singers/recorders of this song, i.e. the plant which is deadly without proper preparation, and needs only boiling, or whatever, to render it "polk sallet," fit "for human consumption" in Appalachia although consonant with perhaps only the nutritional needs of the Lumpenproletariat that is invoked here.)

also; an acoustically lesser but still great and perhaps in some ways better performance, especially recommended for persons coming for a more jam-centric and/or rockist perspective than I; is, coming in the beginning of the heart of his post-honorary-FNB, post-secobarb-and-biphent, Vegas Elvis years, although before terminal paranoiac fat-Elvis set in.


^jump @ ~[spoil]+3:26[/spoil] or so for a (video) laugh but don't, really, the song is worth it

the latter video really shows his triumphs not as only the pop-country-r&b-fusion-rock-heavenly-choir singer of all time, but, seriously underrated, probably by the metre of post-1950 GoAT, as bandleader and showmaster, that I can't even really think of analogues to; yes, the Dead, of course, as reflected in my heritage, my avatar and years of my life but as a single star of all that in one, no, not really on a level, although of course in a rather different band organization—few odd iterations of Terrapin or Blues for Allah, or future retrospectives,excepted—entirely different personnel and acoustics and and style and form/Gestalt although not always alll that afar in genre—some of the jammier parts of the Polk Sallet Annie do almost have a Europe 72-ish feel, yes, later same year, although I'd hardly call it derivative or anything. the King was, well, the King; the paisley-skull-rose psychedelic-allahs were what doesn't need explaining, if you give a shit; but the royal prerogative is a thing…
 
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SKL said:
fine yall, just don't let anyone tell you Elvis wasn't on some epic shit;

first, a song about one bad ass chick—



(n.b., "polk sallet" ≠ "pork sallet (or, salad)" ≠ "polk sallet," the latter of which, viz., unprepared Phytolacalla am. spp., should be known to the interest of the Bluelight perusing public, as toxic, although not as far as I can tell psychoactive; although, allegedly people have died after having tried to consume "polk salad" after Elvis or the earlier singers/recorders of this sogn, i.e. the plant which is deadly without proper preparation, and needs only boiling, or whatever, to render it "polk sallet," fit "for human consumption" in Appalachia although consonant with perhaps only the nutritional needs of the Lumpenproletariat that is invoked here.)

also; an acoustically lesser but still great and perhaps in some ways better performance, especially recommended for persons coming for a more jam-centric and/or rockist perspective than I; is, coming in the beginning of the heart of his post-honorary-FNB, post-secobarb-and-biphent, Vegas Elvis years, although before terminal paranoiac fat-Elvis set in.
Click to expand...


heh, thanks for that. i wondered what polk salad was. assumed it was pretty much what you said - some wild growing weed that poor folks in the south would eat in hard times.
didn't know it was potentially toxic - that's interesting, and adds a dimension to my interpretation of the lyrics. like she's the real-deal, not some wannabe poseur badass chick
fucking great lyrics.
love the little asides at the end of the choruses, like "wretched, dispiteful, straight-razor totin' woman. lord have mercy."

i never really listened to the Elvis version before - but i always loved the original version by Tony Joe White.
the version linked to there is a little different to the one i'm familiar with - it's the same take, but has no brass section. i wonder if the horns were overdubbed on at a later date or part of the original recording that got cut in that mix?


either way - my absolute favourite part of the original tony joe white version is the last couple of bars of the song, where suddenly he jumps on the crybaby pedal and the guitar gets all freaky and wild.
i'm usually not too much of a fan of wah-wah/crybaby pedals (except when hendrix and ron asheton used them) - but that final little climax in the song is l

but credit where credit's due - i dig that version. it's a wild recording. the band have some killer r'n'b chops without it being that sort of cheesy virtuoso playing that puts me off these sort of acts in this era.
i just watched this version as well (from Live in Las Vegas 1970 ) - and i gotta say, Elvis does a fantastic Lux Interior-esque mic-swallow at about 1:52 min (just after delivering the line i quoted above about the straight-razor totin' woman).
he looks absolutely wired out of his skull (but strangely calm, eh ;) but again, it's not bad at all.


except...if you look at 2:44min in to that video, and elvis pull a little lyric cheat-sheet from his pocket! i can relate, because i'm terrible at remembering lyrics onstage if it's a cover (but not if i've written it, strangely enough). haha, naughty naughty elvis.


===========================================

To totally change the pace, i go through phases of listening to to this song several times in a row, because the first - sometimes the second - listen just isn't enough.
it happened today.

pretty fucking long way from elvis, but when it comes to music, i think the more eclectic the better.

this band, the magnetic fields, are one of my favourite bands, and i'm really looking forward to hearing the new record when it comes out.
this is from their first record though, released in 1991

 
yeah, all of those "in Concert" Elvis (and other) recordings are matrix-composites, sometimes from entirely different performances (videos, too, you can tell by looking at the number of buttons on his suit, even when the theater set up is virtually the same) but really are some feats of production on par IMO with some of the best Grateful Dead live recordings, although the production style is of course different as is the ambience, the type of and post-production use made of crowd noise, etc.; but considering that both of the clips I put up (one audio only and with one video) are probably from perhaps even three or more performances spliced together you're talking about some seriously virtuoso producership in addition to a kickass backing band, and, well, fucking ELVIS)
 
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