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Shorties (Peter Gabriel, Seamus Heaney, and more)
14 Mar 2010 at 9:40amWeekend Edition interviews Peter Gabriel about his new covers album, Scratch My Back. The Scotsman interviews poet Seamus Heaney. The Quarterly Conversation interviews Sam Lipsyte about his new novel, The Ask. The Guardian lists the 10 best books about war. The Los Angeles Times reviews the new Runaways biopic. The Independent and Guardian review Michael Chabon's latest essay collection, Manhood for Amateurs. Free at Amazon MP3: the 5-track March Rocks! sampler, which includes tracks by Free Energy and OK Go. NPR's All Things Considered interviews Frightened Rabbit frontman Scott Hutchinson about the band's new album, The Winter of Mixed Drinks. Follow me on Twitter for links that don't make the daily "Shorties" columns. also at Largehearted Boy: Atomic Books Comics Preview (highlights of the week's comics & graphic novel releases)
Daily Downloads (Drive-By Truckers, The Low Anthem, and more)
14 Mar 2010 at 8:49amToday's free and legal mp3 downloads: Drive-By Truckers: 2010-03-12, Atlanta [mp3,ogg,flac] Glen Phillips: 2010-02-19, Covington [mp3,ogg,flac] Local H: 2010-03-06, Elgin [mp3,ogg,flac] The Low Anthem: 2010-03-06, Milwaukee [mp3,ogg,flac] Mother Hips: 2010-02-127, Solana Beach [mp3,ogg,flac] Ween: 2008-07-16, Denver [mp3,ogg,flac]
http://throwmethestatue.com/">Throw Me the Statue: Daytrotter session [mp3]
other daily free and legal mp3 downloads Try It Before You Buy It (mp3s and album streams from weekly CD releases)
Contest - Win a $100 Threadless Gift Certificate
13 Mar 2010 at 12:50pmLast week's contest went so well (and garnered so many fun entries) I am once again giving away a $100 Threadless gift certificate to share the 100% cotton wealth. This week's prizes are a $100 Threadless gift certificate as well as a selection of books and CDs. To enter the contest, leave a comment in this post with the pop culture icon that you feel deserves to be emblazoned on a t-shirt of his/her own. The winner will receive the following prizes: $100 Threadless Gift Certificate The winner will be chosen randomly at midnight CT Friday evening (March 19th). also at Largehearted Boy: previous and ongoing contests at Largehearted Boy 52 Books, 52 Weeks (my yearly reading series)
Shorties (The Runaways, Joanna Newsom, and more)
13 Mar 2010 at 8:07amWith The Runaways movie soon to hit theaters, the new book Neon Angel: A Memoir of a Runaway (written by Cherie Currie and Tony O'Neill) is at the top of my reading list. Hour.ca profiles singer-songwriter Joanna Newsom. Joanna Newsom's new album, Have One on Me, is certainly generous in every sense of the word. A magnum opus, three records long, the album's songs give us everything we'd hoped for on round three: more of the original bare-boned folk we'd been introduced to (either harp-ed or piano-ed), new and exciting full orchestral compositions, and finally, some exceptionally honed vocals, more dulcet and more beautiful than we thought possible. All of it free without being loose, brave without being audacious and beautiful without being perfect. Where, in this 28-year-old wonder, it all comes from is almost mystifying. Mashable explores how musicians are using social media to connect with fans. Pop & Hiss lists the 2010 music stories to watch at SXSW. NPR's Morning Edition ponders the value of e-books. The Manga Critic offers tips to book reviewers on how to review manga titles. Flavorwire lists indie rock's five favorite classical composers. NPR's All Things Considered interviews Frightened Rabbit frontman Scott Hutchinson about the band's new album, The Winter of Mixed Drinks. Follow me on Twitter for links that don't make the daily "Shorties" columns. also at Largehearted Boy: Atomic Books Comics Preview (highlights of the week's comics & graphic novel releases)
Daily Downloads (Man or Astroman?, Tom Tom Club, and more)
13 Mar 2010 at 7:05amToday's free and legal mp3 downloads: Carolina Chocolate Drops: 2009-10-02, Ann Arbor [mp3,ogg,flac] Gomez: 2010-03-08, Denver [mp3,ogg,flac] Joe Pug: 2010-03-09, Carrboro [mp3,ogg,flac] Justin Townes Earle: 2010-03-10, Carrboro [mp3,ogg,flac] Man or Astroman?: 2010-03-05, Atlanta [mp3,ogg,flac] My Morning Jacket: 2004-01-24, Richmond [mp3,ogg,flac] Robyn Hitchcock: 1996-05-25, London [mp3,ogg,flac] Smashing Pumpkins: 1999-04-14, New York [mp3,ogg,flac] Tom Tom Club: 2001-07-15, Detroit [mp3,ogg,flac]
Snowblink: Daytrotter session [mp3]
other daily free and legal mp3 downloads Try It Before You Buy It (mp3s and album streams from weekly CD releases)
Book Notes - Dara Horn ("All Other Nights")
12 Mar 2010 at 3:07pm
In the Book Notes series, authors create and discuss a music playlist that relates in some way to their recently published book. Dara Horn's latest novel All Other Nights is a gripping work of historical fiction set in the Civil War. Horn's well-drawn characters bring to light Jewish life of the times, as well as the moral dilemmas faced during the war in this thought-provoking and fascinating book. The Washington Post wrote of the book: "In the slam-bang opening pages of her superb third novel, Dara Horn masterfully establishes both a gripping plot premise and a fascinatingly conflicted protagonist. She sends Jacob roaming across a war-torn landscape to encounter a marvelous variety of characters, each imagined with empathy and depth. .... Horn is too gifted and ambitious an artist to settle for easy reassurances or a facile happy ending; she instead offers her readers the deeper satisfactions of complexity and generosity as she limns a world of agonizing, implacable moral ambiguities and guides her imperfect yet lovable protagonist toward a tentative redemption."
Like most people who didn't grow up in Appalachia, I first heard this song in the movie Deliverance, which retells the story of Conrad's Heart of Darkness in the American South. The film turns a equally-matched back-and-forth between two banjos?one of which announces its Northernness with a few bars of "Yankee Doodle"?into a much more dangerous competition between a suburban sophisticate playing a guitar and a hillbilly child playing a banjo. The movie's absurd caricature of the rural South made the brilliance of the music all the more striking. I listened to this version of the song throughout the time I was writing All Other Nights. The novel begins in 1862 with Jacob Rappaport, a Jewish Union soldier from a wealthy New York family, being assigned by his commanders to go to New Orleans to assassinate his own uncle, who is involved in a plot to kill Lincoln. The competition between two sets of American values?Yankee and "modern" versus Rebel and "traditional"?drives the action in the book, and this divide still haunts nearly every American political conversation today. The grandeur of "Dueling Banjos," which I could only attempt to replicate in the novel, is in the way it honors both sides, bringing them into a harmony that remains impossible outside of music.
The melody for this prayer dates to at least the eleventh century?and it still has the power to bring the most skeptical sophisticates to tears, which it does on an annual basis around the world. The "lyrics" in Aramaic, an ancient Jewish language related to Hebrew, are several centuries older, and are a legal formula allowing for the annulment of future private vows between God and man. It is sung in synagogues worldwide on the annual Day of Atonement, and its haunting music, which slowly builds over three repetitions, rarely fails to leave roomfuls of rational adults shaken. "Kol Nidre" appears halfway through All Other Nights, when Jacob Rappaport finds himself in synagogue on the Day of Atonement, 1863, and realizes, in the midst of the wrenching music, that he can never forgive himself for the lives he has destroyed. But there is another specifically American resonance to this song that made it linger in my mind while writing this book. "Kol Nidre" was featured in The Jazz Singer, the first non-silent movie ever made, with the megastar Al Jolson performing it in Aramaic?minutes before the actor switches to blackface to sing in a minstrel show. The slippery nature of race, class, fame and power in America, in Jolson's performance, are blended with an ancient acknowledgment of mortal failure and a plea to rebuild a damaged trust.
This song about a fallen soldier, written in 1863, was tremendously popular in both the North and the South during the Civil War, and all the characters in All Other Nights would have heard it many times. Its enchantment today comes from its odd candor, the openness of emotions that most of us?and especially soldiers?have been carefully trained never to share with anyone without a protective shield of irony, much less in the public spectacle of a popular song. And even more astonishing is its honesty about the reality of loss and the falseness of glory while providing an alternative dignity for the dead: True, they tell us wreaths of glory If only we were still allowed to be this unironic.
Most pop songs about love are of two varieties: "I love you, it's great," or "You dumped me, it sucks." This addictive and beautiful song by the Israeli artist Idan Raichel, written in Hebrew with some Amharic (Ethiopian) lyrics, offers something quite different. Tremendously popular in Israel since its 2003 release, "Bo'i" first sounds like a cliched love song, but pivots on a line that changes everything (my translation): Come With that simple and startling phrase "Don't ask me about happiness," the song changes the purpose of love from fulfillment to commitment. In All Other Nights, Jacob Rappaport's second mission doesn't involve murdering a spy, but marrying one?and when he falls for his target, the complications that ensue are not at all what either he or the reader might expect. The American belief that happiness should be the goal of life is challenged both in the song and in the novel, which both suggest that happiness matters less than trust and commitment?and that trust and commitment are also happiness's only source. Dara Horn and All Other Nights links: the author's website Baltimore Sun review Baby Got Books interview with the author
other Book Notes playlists (authors create music playlists for their book) 52 Books, 52 Weeks (weekly book reviews)
Book Notes - Henry Baum ("The American Book of the Dead")
12 Mar 2010 at 2:20pm
In the Book Notes series, authors create and discuss a music playlist that relates in some way to their recently published book. Henry Baum's latest novel The American Book of the Dead is reminiscent of Philip K. Dick and Haruki Murakami, a book that boldly explores the future and defies genre.
Jim O'Rourke is my God. Eureka is everything I want to do musically, thematically, spiritually...with songwriting and recording, and really with fiction. Won't happen of course, but that's where I want to go. "Women of the world take over, because if you don't the world will come to an end, and it won't take long." Basically.
O'Rourke again - the final sequence of this song is the closest I've heard to what it might sound like to die. And that's a beautiful thing. Expressive in the way that Bach or Beethoven is expressive, and most rock music doesn't touch that, as much as I love it.
I'm sort of an ignoramus when it comes to lyrics. Or, I'm much more interested in the melody and music than I am with lyrics. Especially with my own songs - too confining, maybe, when compared to fiction. So I didn't realize "Five Years" was so explicitly an apocalypse song until many years into listening to it. This should have been a clue: "News guy wept and told us, earth was really dying." And it makes it into the novel. Characters are sitting in a park, watching kids play, lamenting the coming war, which is also inspiring their increased love of people. One says to the other, "It's like that song, 'Five Years.' 'All the tall short people, all the fat skinny people. I never thought I'd need so many people.'"
Very inspired by Eno - though I'll consolidate by mentioning this one, which is a masterpiece for two major people at once. Love how the song (and most of the songs on Remain in Light) is really just the same motif which adds layers and layers and layers...I see the book as trying to do the same thing. It's about a writer who predicts the state of the world in his writing, til eventually you're not sure if this is his self-important fantasy or it's really happening. There's also the idea that the novel's being channeled from the future by his younger self (i.e. me). So it's a kind of puzzle that can't exactly be solved. "The world is near but it's out of reach. Some people touch it but they can't hold on."
Obsessed with Smile, every iteration of it. Have a song for the book/record (unrecorded, as of yet) which references "Heroes and Villains." Nicely insane. Jimi Hendrix called the Beach Boys a "psychedelic barbershop quartet." I have no problem with that.
Have to include something from Tommy. "Rock Opera" makes the soundtrack to the novel sound more complex than it is. Really, it's just a concept record. It won't be sung from many different characters' points of view. Tommy is basically a spiritual journey that ends with him worshiping the sun ("Gazing at you, I get the heat"). The sun doesn't really play a part in The American Book of the Dead, but it is after finding a God that might have a basis in science.
The Kinks do a space jam.
I have no proof, but I think Neutral Milk Hotel's Jeff Mangum might have been obsessed with this song. His rolling vocal melodies that seem to have no end have a lot in common with this. Also lyrically beautiful. On that front, Alice in Chains seemed to base every harmony on King Crimson/Belew's "Frame by Frame." So I'm also a kind of Belew fanatic (Talking Heads' Remain in Light too).
The whole record. Perfect, moody guitar music for when Godspeed You Black Emperor is too depressing (most of the time).
Another inspiring song about death. Book's called The American Book of the Dead. It's about death. Also the afterlife. And war. If it was determined with certainty that there was an afterlife, war would lose its utility. One of the ideas in the book. Part of me believes this is possible, but still, "Sad I'm gonna die. Hope it's going to happen later than I think."
the book's website Charles Todd White's Blog interview with the author also at Largehearted Boy: other Book Notes playlists (authors create music playlists for their book) 52 Books, 52 Weeks (weekly book reviews)
Shorties (Laura Veirs, Werner Herzog, and more)
12 Mar 2010 at 6:49amThe Seattle Times profiles singer-songwriter Laura Veirs. "July Flame" is a moody masterpiece that fans of Neko Case, Yo La Tengo and Mirah will embrace as completely as fans of folk. Veirs' fingerpicking prowess and lyrical depth shine on her seventh full-length recording, named for a type of peach. It transports you directly to dreamy summer days and nights ? getting "dizzy in the grass," watching firework ash fall into your lemonade. The A.V. Club offers a primer to the films of Werner Herzog. Kristin Hersh is publishing her new album as a book. Global Times profiles one of my favorite cartoonists, Guy Delisle. If you were ever lost in translation, Guy Delisle's series of graphic novels will find resonance with you. Delisle's alter ego is the typical outsider, with a curious eye and endearing empathy. His fish-out-of-water experiences reveal the cultural diversity and idiosyncrasies of his hosts, framed in black-and-white comics, with minimal dialogue and wry humor. The Top 13 lists the top 13 novels about drugs. Gibson interviews Patterson Hood of the Drive-By Truckers about the band's new album, The Big To-Do and his guitars. Curve lists the 10 most underrated lesbian books. Booklist lists its top 10 graphic novels of 2010. Bottomless Pit is sharing two new songs on the band's facebook page. The Guardian shares the true story of Abdulrahman Zeitoun, the hero of Dave Eggers' latest novel. At the Daily Beast, Elif Bautman lists her favorite alternative Russian classics. The Guardian examines pop musicians who are incorporating classical poetry into their music. NPR Music shares a playlist of songs for space travel. NPR reviews Danielle Trussoni's new novel, Angelology, and also presents an excerpt. Jewcy lists its 10 favorite Rick Rubin-produced albums. Codex interviews Sam Lipsyte about his new novel, The Ask. Win a $100 Threadless gift certificate in this week's Largehearted Boy contest. Follow me on Twitter for links that don't make the daily "Shorties" columns. also at Largehearted Boy: Atomic Books Comics Preview (highlights of the week's comics & graphic novel releases)
Daily Downloads (The Archie Bronson Outfit, Coathangers, and more)
12 Mar 2010 at 6:24amToday's free and legal mp3 downloads: The Archie Bronson Outfit: "Shark's Tooth" [mp3] from Coconut (out March 23rd) Ceremony: "Someday" [mp3] from Rocket Fire (out April 27th) Coathangers: free and legal Scramble album download (until March 14th) [mp3] Girlfriends: free and legal Good to Be True/The Day I Was a Horse download [mp3] Deadstring Brothers: "Sao Paulo" [mp3] from Sao Paulo Pretty Lights: free and legal Making Up a Changing Mind EP [mp3] The Sight Below: "Fervent" [mp3] from It All Falls Apart (out April 6th) Various Artists: free and legal Circle into Square: Compilation Vol. 1 album [mp3] Woods: "I Was Gone" [mp3] from At Echo Lake (out May 11th)
Busman's Holiday: Daytrotter session [mp3] Twin Tigers: 2009-06-26, Athens [mp3]
other daily free and legal mp3 downloads Try It Before You Buy It (mp3s and album streams from weekly CD releases)
Book Notes - Ken Kalfus ("Thirst")
11 Mar 2010 at 11:23am
In the Book Notes series, authors create and discuss a music playlist that relates in some way to their recently published book. Like a classic out-of-print album, this month Milkweed Editions reissued Ken Kalfus's 1998 debut short story collection, Thirst. The collection's stories vary greatly in geography and topic, but their characters resonate with timeless sincerity. The New York Times wrote of the collection when it was first released: "Ken Kalfus (an American who has lived in Paris, Dublin, Belgrade and Moscow) lights his stories with this fundamental strangeness. The displaced figures in "Thirst" drift through worlds that are at once astonishing and familiar. They'd like to wake up in their own beds after a good night's sleep, but even that blessing would, we suspect, have the word ''perhaps'' in it somewhere."
Very few direct musical references show up in my work, but Thirst includes a short story named for the classic Cole Porter song, "Night and Day." The story is about a man, Harrah, who suffers a serious sleep disorder: whenever he falls asleep in his apartment on the East Side of Manhattan, he immediately wakes in another apartment, on the West Side, where he lives an apparently parallel life. Porter was probably not thinking of fantastic situations like this one when he composed the song, for the 1932 show The Gay Divorcé, but he may have appreciated Harrah's romantic predicament. The always-awake Harrah has girlfriends in both existences and can't keep them straight. The story even embeds a Cole Porter phrase within it (risking unflattering comparisons with the phrases in the book that were not written by Cole Porter). In one life, Harrah hopes to encounter the girlfriend who inhabits the other, while he "stands on the corner of Pine and Nassau, in the roaring traffic's boom, eating a hot dog, waiting for her to show up." "Night and Day" typifies my musical taste, for which I make no apologies, because Porter's work is infused with appealing human values: urbanity, romanticism and wit.
You can embed a phrase from Tin Pan Alley into your prose once in your career, but twice is probably pushing it. Now that I've begun this exercise, I realize that I did it again in an essay for the book, Dumbing Down: the Strip Mining of American Culture. In my contribution to the collection, I lamented the decline in the public's understanding of science and sought the reasons for it. I maintained that many of us don't recognize science as an enduring process that over centuries has explained the world with consistent success. Rather, science is often perceived as a single body of knowledge or collection of facts - facts that are always being disproved by new facts, devaluing the entire endeavor. For evidence I cited Ira Gershwin: "They all laughed at Christopher Columbus,/ When he said the world was round./ They all laughed,/ When Edison recorded sound." I promise not to do it again.
I could easily fill up my playlist with show tunes or simply Cole Porter songs, including "You're the Top!" and "Let's Do It, Let's Fall in Love," but for variety's sake I'll limit my selection to just one other Porter canto, "Brush Up Your Shakespeare," which makes for good literary advice anyway. The song is from Kiss Me Kate, a musical-within-a-musical based on The Taming of the Shrew. The metafictional song-and-dance is threatened when a shylock sends two tough guys to extract money from the show's producer. Observing the enduring popularity of classical writers, from Aeschylus and Euripides to Shelley, Keats and Pope, one goon tells the other, "But the poet of them all/ Who will start 'em simply ravin'/ Is the poet people call/ The Bard of Stratford-on-Avon."
Whether in prose or in verse, every great line carries the charge of the unexpected: an unconventional word choice, a phrasal diversion or an alteration in the line's natural meter. In Irving Berlin's 1946 musical, Annie Get Your Gun, the theatrical sharpshooter Annie Oakley plaintively sings that her marksmanship has not won her suitors. Every time I hear these lines or sing them myself, I'm surprised: "For a man may be hot/ But he's not/ When he's shot./ Oh, you can't get a man with a gun."
This song has a peculiar literary source: Goodnight Moon, Margaret Wise Brown and Clement Hurd's 1947 board book, which generations of parents have read to their toddlers at bedtime. As a little rabbit-kid is going to bed, we soothingly say goodnight to every familiar object in the room, goodnight chair, goodnight table, goodnight clock, and goodnight to the moon outside the window. It's a lovely book and very effective. By the time you're finished, you're half asleep yourself. The songwriters were evidently required to read this book once too often. Shivaree's version is hilariously unsoothing. In it, the child going to bed worries, "There's a shark in the pool/ And a witch in a tree/ A crazy old neighbor and he's been watching me/ His footsteps loud and strong are coming down the hall...."
Written by Anjani Thomas and Leonard Cohen, this is easily the sexiest song on my playlist, permeated with longing and transcendent mystery. "There's perfume burning in the air,/ Bits of beauty everywhere,/ Shrapnel flying,/ Soldier, hit the dirt." The shrapnel flying - yeah, it's sometimes like that. Anjani recorded her own very sensuous version; Madeleine Peyroux's is slightly more up-tempo.
Suzanne Vega's entire 1996 album Nine Objects of Desire is high literature, like a collection of stories from Updike or Salinger. Her ideas are profound and nuanced. Her use of language is imaginative and exacting. No one song sounds like another. My favorite is "Caramel": "It won't do/ To dream of caramel,/ To think of cinnamon,/ And long for you." But further down the album there's "Tombstone," whose lively, funny, and yet darkly existential qualities I wouldn't mind infusing into my own writing: "You can carve my name in marble./ You must cut it deep./ They'll be no dancing on the gravestone./ You must let me sleep. /And Time is burning, burning, burning./ It burns away."
Jobim wrote lyrics in both Portuguese and English for the much recorded Brazilian classic "Aguas de Marco." In Brazil, in the southern hemisphere, March is the rainy month and the Portuguese version is distinctly autumnal: "They are the waters of March/ Closing the summer." But the English, northern hemisphere version is a song of spring. The great Susannah McCorkle always touches me when she announces: "And the riverbank sings/ Of the waters of March./ It's the end of despair./ It's the joy in your heart." I may have to listen to this song every day from now until the beginning of the baseball season.
One of the Thirst's short stories, "The Joy and Melancholy Baseball Trivia Quiz," consists of a series of baseball trivia questions, all of them concerning unrecorded distinctions, like the most consecutive pitches thrown outside the strike zone. I was besotted by baseball when I wrote the story, especially by its prodigal generation of statistics and the poetic names of its most prosaic players. The story may have been at least partly inspired by Dave Frishberg's 1970 song, "Van Lingle Mungo," whose lyrics comprise the names of forgotten players of the 1940s and '50s - names as strange and wonderful as those of fallen empires and lost cities: "Whitey Kurowski/ Max Lanier/ Eddie Waitkus and Johnny Vander Meer/ Bob Estalella/ Van Lingle Mungo!"
This song was first sung by Groucho Marx in At the Circus, a clip of which is available on YouTube. Nowadays, the historical references to the lady's epidermal engravings all need footnotes, from the Wreck of the Hesperus (a poem by Longfellow) to "Grover Whelan unveilin' the Trylon" (a New York politico who opened the 1939 World's Fair, built around two symbolic structures called the Trylon and the Perisphere). The song adds: "For two bits she will do a mazurka in jazz/ With a view of Niagara that nobody has./ And on a clear day you can see Alcatraz!/ You can learn a lot from Lydia!" Ken Kalfus and Thirst links: the author's website Huffington Post review Bat Segundo Show interview with the author
other Book Notes playlists (authors create music playlists for their book) 52 Books, 52 Weeks (weekly book reviews)
Book Notes - Richard Milward ("Ten Storey Love Song")
11 Mar 2010 at 9:33am
In the Book Notes series, authors create and discuss a music playlist that relates in some way to their recently published book. Richard Milward's debut novel Apples simply blew me away a couple of years ago with its twisted tale of young love. His second novel, Ten Storey Love Song, is equally impressive. Telling the tale of several Middlesborough apartment complex's occupants in one frantic, perfect-pitched paragraph, the book is as fast-paced as its characters' lives, and Milward has rightfully earned his constant comparisons to Irvine Welsh.
"Milward's work, fresh and bouncing with chemical-induced energy, has been described by the London Times as the youthful offspring of J.D. Salinger and Arctic Monkeys -- nice idea! Kerouac is another obvious influence, not to mention Irvine Welsh. There's some suggestion too of Joyce Cary's classic "The Horse's Mouth," especially in the heady and unexpected optimism of the writing."
My latest novel, Ten Storey Love Song (itself named after the Stone Roses' sublime 1995 single) wears its musical influences on its sleeve. In a way, the character Bobby the Artist acts as a jukebox of sorts, channeling my own musical tastes through the records he paints to, trips to, and trips over his waterpots to. I'm very particular about the records I write to. For starters, they have to be at least fifty minutes long (so they serve as a kind of egg-timer, helping me keep track of how long the wrist's been working) and, if possible, it helps if the music reflects the atmosphere of the section I'm going to write. For instance, it's difficult writing about a massacre in a playground to Kool & the Gang's 'Celebration.' Likewise, it's tricky writing a Mills & Boon romp to Slipknot. Then again, it's all down to taste. To me, The Fall are great for tongue-in-cheek, Kafkaesque calamity; John Coltrane's Ascension is perfect for stream-of-consciousness, and earache; Lou Reed's Metal Machine Music is amazing for concrete prose, and driving your neighbour's dogs wild. Each of the following records played their part in the construction of Ten Storey Love Song, whether adding to the actual plot, or just making me tap my foot while I'm pondering where to next press my pencil. 1) 'Peach, Plum, Pear' ? Joanna Newsom Ten Storey Love Song is set round a crossroads in Middlesbrough, UK, where three ten-storey tower blocks stand. While the real-life blocks have bland, nondescript names ? Milford, Portland and Dartmouth Houses ? I blessed them with the pseudonyms Peach, Plum and Pear Houses, in homage to their bright, fruity paintwork, as well as Joanna's harpsichord-heavy track (itself a nod to Janet and Alan Ahlberg's Each Peach Pear Plum).
In the novel, Bobby the Artist cites Lennon's barmy, hallucinogenic masterpiece as the song that introduced him to rock and roll. I find The Beatles awe-inspiring, the way they effortlessly combined experimentalism with singalong accessibility, and constantly reinvented themselves in the space of just a few years. Plus they weren't afraid to dance about in animal costumes.
While this song is actually about Manchester, it always makes me think of Middlesbrough. Middlesbrough was built on steel and chemical industries and, while it regularly gets slated for its murky landscape, the industrial structures have such obscure, mouth-watering beauty. I reckon the flaming factories are as romantic as a flowering forest, or a church full of lit candles. And they even churn out their own special cloud formations.
With a title that conjures up images of violence as well as romance, this old Sinatra standard sums up the sentiments of the novel perfectly. Much of my writing seems to straddle sickness and sweetness. For instance, the forty year-old container driver in the book, Alan Blunt (himself a huge Sinatra fan) fluctuates from needless racist aggression, to cheery, charming companionship throughout Ten Storey Love Song. My characters definitely get a kick out of champagne and cocaine but, ultimately, they realise the biggest kick of all is love.
While Bobby isn't an 'outsider artist' per se, his paintings have the joyous frivolity of a frenzied child, like a cross between Jean-Michel Basquiat and Henry Darger (two of my own favourites). This lovely Mazarin ditty opened my eyes to Darger's 'twisted innocence' ? again, there seems to be a sickly-sweetness (or just plain naivety!) at work in his illustrations. After all, the old fellow seemed to think young girls have cocks!
The 1986 Jim Henson film Labyrinth gets a couple of mentions in Ten Storey Love Song. I remember the film ? and Bowie in particular ? freaking me out as a young lad. I love how kids' films feed so much hypnotic, hallucinogenic imagery to children, like Bowie walking along the upside-down staircases, or the 'big brown mammoth thing' that eventually crops up in one of Bobby the Artist's bad acid trips.
At the weekends, the nightclubs of Middlesbrough are home to happy hardcore monstrosities like this. In the book, local tearaway Johnnie dances to this song before experiencing the unfortunate laxative effects of Ecstasy. Sadly, it's an event based on my own experiences ? though I swear I've never danced to DJ Alligator in my life.
I get a lot of inspiration from 'experimental' freeform music like this. Strangely, a lot of novelists still seem to adhere to certain staid rules laid out by the Victorians, whereas music seems to be a constantly evolving beast. Again, I think good literature should try and twist the conventions of the medium, as well as straddle beauty and beastliness ? something which 'Metal Machine Music' does with aplomb.
Arguably the best song title on this list, 'Tantric Porno' makes a cameo appearance on the first page of Ten Storey Love Song, perhaps subliminally bracing the readers for the lashings of filthy sex to come. Incidentally, Ten Storey Love Song was recently nominated for the Literary Review Bad Sex in Fiction Award. Perhaps if I'd shrouded all the rude bits in Big Muff distortion and reverb, like Bardo Pond do, it might not have been in the running for such a prestigious accolade.
Initially, I juggled with a few different titles for the novel, but I kept coming back to this one. In a sense, the whole novel is a love song to my friends in Middlesbrough ? a celebration of the folks who introduced me hallucinogens, heavenly hanky-panky, not to mention the Stone Roses themselves. I wanted the book to be a tribute to my friends, as well as a tribute to one of the finest pop songs of the 20th century.
the author's Wikipedia entry 3:AM Magazine review Allen & Unwin essay by the author on writing
other Book Notes playlists (authors create music playlists for their book) 52 Books, 52 Weeks (weekly book reviews)
Shorties (Stone Roses, David Foster Wallace, and more)
11 Mar 2010 at 8:26amXfm is celebrating the 21st anniversary of the Stone Roses self-titled debut album with a wealth of online content. The University of Texas shares some of David Foster Wallace's personal books and offers an exclusive between inside the covers. East Bay Express profiles One Night Music, a website that shares live videos of music performances. The Daily Texan profiles poet Thax Douglas. Mashable examines Daytrotter's new paid downloads option for bands. The Santa Barbara Independent interviews Ryan McPhun of Ruby Suns. Sea Lion drew a lot of comparisons to surf pop icons like the Beach Boys. Do you feel like you looked to any specific musical touchstones for Fight Softly? I suppose each song had a specific touchstone, indirectly or not, that created the impetus for it. Fleetwood Mac provided the initial inspiration for "Two Humans," where as Phil Collins inspired parts of "Olympics on Pot," etc. The Daily Texan profiles Fanfarlo. The band?s orchestral arrangements, ambitious pop-rock opuses and sweet, warbled vocals find inspiration all over the place, though according to bassist Justin Finch, not all of these influences can necessarily be picked out just by listening to the band. The New Yorker features a new short story by David Means. Joanna Newsom discusses her new album, Have One on Me, with Hour.ca. Flavorwire lists its favorite opening lines in literature. Author Sam Lipsyte takes Flavorwire on a walking tour of Astoria. At Paste, former Idolator editor Maura Johnston shares her experience as a digital music consumer. Pop Candy previews the Pride and Prejudice and Zombies graphic novel. Fader is streaming the new Serena Maneesh album, S-M 2:Abyss in B-Minor (out Win a $100 Threadless gift certificate in this week's Largehearted Boy contest. Follow me on Twitter for links that don't make the daily "Shorties" columns. also at Largehearted Boy: Atomic Books Comics Preview (highlights of the week's comics & graphic novel releases)
Daily Downloads (MGMT, Harlem, and more)
11 Mar 2010 at 6:55amToday's free and legal mp3 downloads: Broken Records: "Lies" [mp3] Cate Le Bon: "Shoeing the Bones" [mp3] from Me Oh My (out March 23rd) Dr. Dog: "Stranger" [mp3] from Shame, Shame (out April 6th) Harlem: "Gay Human Bones" [mp3] from Hippies (out April 6th) MGMT: "Flash Delirium" [mp3] from Congratulations (out April 13th)other MGMT posts at Largehearted Boy Night Driving in Small Towns: "Come & Tell Me" [mp3] from Serial Killer (out April 20th) Plushgun: "Mixtapes" [mp3] from Peace (out April 12th) Senryu: "Inklings" [mp3] from Inklings (out April 13th on CD) The Sister Ruby Band: "Rebecca (Just Take It from Me)" [mp3] from A Shot In The Dark (out May 2nd on CD) Suckers: "Boys Who Rape (Raveonettes cover)" [mp3]
Dinosaur Feathers: 2010-03-05, New York [mp3] Vetiver: WOXY Lounge Act [mp3]
other daily free and legal mp3 downloads Try It Before You Buy It (mp3s and album streams from weekly CD releases)
Largehearted Word Books of the Week - March 10th, 2010
10 Mar 2010 at 9:26am
In the Largehearted Word series, the staff of Brooklyn's WORD bookstore highlights several new books released this week. WORD is an independent neighborhood bookstore in Greenpoint, the northernmost neighborhood of Brooklyn, that will celebrate its third anniversary this March. Our primary goal is to be whatever our community needs us to be, which currently means carrying a lot of paperback fiction (especially classics), cookbooks, board books, and absurdly cute cards and stationery. In addition, we're fiends for a good event, from the classic author reading and Q&A to potlucks and a basketball league (and anything set in a bar). We're a small operation, just 1000 square feet and four people, but we read too much, so it all works out. If a weekly dose of WORD here isn't enough for you, follow us on Twitter: @wordbrooklyn.
Big Machine Very excited to have this in paperback. Love the next cover. Everyone who has walked in today has picked it up.
Columbine One of my favorite nonfiction books of last year, now in PB.
Don't Cry Love her. Another great new paperback this week. Jealous of anybody who is shopping off new release tables this week.
Laura Rider's Masterpiece Anna and I think this was one of the most criminally overlooked books of last year. Hysterically funny in the vein of the best screwball comedies and, at its heart, incredibly thoughtful about the responsibilities of authors to themselves, the people they love, and their work.
The Shaking Woman Or A History Of My Nerves This book is so good that you'll keep saying "just two more pages" until you finally look up and realized you've gulped it all down in one sitting.
WORD website
other Largehearted Word Books of the Week (weekly new book highlights) 52 Books, 52 Weeks (my yearly reading project)
Book Notes - Various Authors ("Phantom")
10 Mar 2010 at 9:05am
In the Book Notes series, authors create and discuss a music playlist that relates in some way to their recently published book. Phantom is a literary horror fiction anthology that collects 14 fascinating short stories. Other than Nick Mamatas and Stephen Graham Jones, these authors were all new to me, and I was impressed by every story in the collection. Thanks to Paul G. Tremblay and Sean Wallace for expanding my literary worldview, and for helping spread the word that horror is much more than vampires, werewolves, and zombies. Publishers Weekly wrote of the book: "Ghosts, disaffected wives, deserted towns, obsessive journalists and children who never existed haunt the pages of this stunning, elegant and frightful anthology of "literary horror" assembled by Stoker nominee Tremblay and World Fantasy Award?winning Wallace."
For "The Cabinet Child" I imagine a JS Bach cello suite playing in the background (actually, Bach cello suites would fit many of my stories). With the brooding cello in those Bach suites many would do, celebrating both the sad and the beautiful at the same time, but if I have to choose, how about Cello Solo Suite #5 in C Minor, BWV 1011-2. Allemande?
The title for "The End of Everything" comes from a Slipknot song, from their IOWA album. The chorus for "Everything Ends" includes the lines ? I haven?t slept since I woke up/And found my whole life was a lie (expletive deleted)/This is the end of everything. I had the concept for the story rolling around in my head, but it was those lyrics that gave it the momentum it needed. The character had to be left wondering if his entire life was a lie. He had to wonder if everything was over. The story wasn?t inspired by the words, and I can?t concentrate on writing with music playing. But the story was shaped by those troubling lyrics.
Song - "Two" by The Antlers?? My story, "A Ghost, A House', is about a woman who can talk to houses, and a man called Jammy, who comes to be her friend. I hesitated to choose "Two" for this purpose - it's a song about an utterly personal experience, and it's tangible in all the ways that "A Ghost, A House" is abstract: a man is watching his wife die. But there are similarities. Both the song and the story are about an insular relationship, the kind that develops its own walls and ceiling to the exclusion of everything else in the world. Both are about a certain type of helplessness that comes with love and duty. Seemingly, both are set inside one single room, and the characters' histories are reduced to mythology, and there's this line in the song, "...and this all bears repeating", which seems to negate any forward momentum until all motion is at a standstill, and the only thing left is the awful fact of the matter, whatever that fact may be.
Yeah, always listening to something at high volume when I write, can't not do that -- from Ed Bruce to Lady Gaga to Faster Pussycat, then back to Neil Diamond or Cher or Danzig or Bonnie Tyler (always Bonnie Tyler) -- but there's never any correlation to what ends up on the page. For "The Ones Who Got Away," that was 2006, so I was deep into Rob Zombie's Educated Horses and Shooter Jennings' Put the O Back in Country, but, I mean, I don't hear either of them when I think about that story. If there's anything playing behind that story for me it's the Footloose soundtrack, I suppose. But, too, just about everything I write, it's probably some kind of unsecret homage to Footloose. Only, here, Ren, he never quite makes it to the dance, never saves the town. Can't even save himself, really. And, worse I guess, he kind of knows it. Which, yeah, okay: that Footloose playing behind him in my head? It's just because I love all those songs, so clearly remember seeing that movie in the theatre, how my heart kind of stayed there, wanted to dance like that. And, this guy living with what he's done, trying to, he's me of course, so what else can there be playing in the background, right? You write what you know, all that, then just try to disguise it as best you can. Turn the music up loud enough that you can't hear what's really going on then send the piece out before you see all the way through it, decide to just keep that one to yourself. But then suddenly it's in-print and all around and everybody can see you and you have to call on Ren McCormack for help. Good thing is, he can hear things from a long way off, from decades away, and will always drop everything, come running.
Song: "Pirate Jenny" from Brecht-Weil's The Threepenny Opera ??In "Pirate Jenny," the speaker is a maid in a hotel, waiting for the pirate ship to enter the harbor and fire. She has a secret: she's in charge. How others see her is part of her power: no one really can imagine what she is. And in turn, she gloats over the coming carnage ?because she will confound the expectations of those who consider her insignificant.?? She's subversive, as is my narrator in "After Images." She's a reporter who makes things up, apparently in the service of some larger truth. She's eager and disruptive, and like Jenny, she's after more slippery prey: the secrets the dead hold. She's subversive, like Jenny; they both appear to be one thing, insignificant and manageable, while never ?being really under control. Neither one of them does a good job of giving the populace what they want. But I like the way Jenny defies them with guns, and the reporter defies them with questions.
"I'm Tired" as performed by Lili von Schtupp. Actually, the origin of "Kinder" is due to Kelly Link and Clarion. I wanted to write something weird. Crazy weird. I always liked the Hansel & Gretel fairy tale, so that was part of the inspiration. And the first few scenes that I wrote in 2006 changed little from start to finish. Why the von Schtupp song? Well, it deals with Teutonic ideals, love, loneliness and weariness. No ovens, though, but not even Mel Brooks is perfect.
Coming up with a song for "Set Down This" is a bit like picking up the theme tune for the American Occupation in Iraq, and I'm not sure there is one. Since I wrote this particular story in South Africa, a long way away, and because, perhaps, of the rhythm of the story, I'd like to go with Vusi Mahlasela's "Basimanyana." Strangely, it seems to fit...
"A Stain on the Stone" is ultimately about the legacy of Ricky Kasso, the notorious "Satanic" murderer that made life very difficult for every high school longhair and metal fan on Long Island for a few years afterward. As a Long Islander of a certain age, I was obligated to write about him eventually. He was a fan of AC/DC, Ozzy, etc., but the song of my choice is "Tell Me What You Want" by local '80s metallers Zebra. The band never made it nationally, but that song and a couple of others got some rotation on LI's WBAB, an album-oriented rock station the longhairs preferred. When writing the story, I imagined a car with one of those ubiquitous WBAB bumper stickers. And the story is all wanting...
I can't think of anything I've ever written that's more attached to a specific song. Something silly like fifteen years ago, before the Internet made it easier to find new good music, I was in upstate New York listening to a crackling FM station. It was a run-of-the mill upstate NY one, so it was mostly rap-rock with some poppier metal and dance music thrown in.
If you're going to have something playing in your head while reading "Invasive Species", it should be "Goin' Back to Harlan", as written by Anna McGarrigle and performed by Emmylou Harris on Wrecking Ball. Deceptively harmless, the music circles like a flock of birds looking for a roost and the lyrics weave together a chain of associations that echoes the structure of the story. The first impression is one of simple nostalgia for rural childhoods and old folk tunes, but there's a disjointedness, a lack of conclusion; it reminds me of the small-town secrets that you only realize were there looking back, the ones that you never learn the truth about - the ones that no longer have an existing truth, because everyone who once knew it has died or crawled in a bottle or told the story over so many times that it's changed. (What Arlo Guthrie calls the Folk Process.) Waking the devil from his dream is probably not as pretty an idea as it sounds.
I had one song in my head the entire time I was writing "She Hears Music Up Above": "Sister Rosetta Goes Before Us," written by Sam Phillips, sung by Alison Krauss on her hit collaboration with Robert Plant, Raising Sand. The first time I heard the song, I was immediately hypnotized, and when I saw the lyrics, I realized there was a story there. When I further realized the feeling I got from the song blended perfectly with my memories of a recent, unscheduled summer afternoon visit to the town common in Waterbury, Vermont, and of a long-ago nightmare, I was off. I even considered giving the story the same title as the song but, thankfully, changed my mind and looked to the lyrics instead.
Paul G. Tremblay's website Bibliophile Stalker review Bibliophile Stalker interview with editor Sean Wallace
other Book Notes playlists (authors create music playlists for their book) 52 Books, 52 Weeks (weekly book reviews)
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Just a Little Bit Lyrics Brian McKnight
11 Mar 2010 at 1:17amI was minding my own business Trying to do some thinkin? You came up beside me and asked me What was I drinkin? Moments count to seconds Count to minutes count to hours Now we?re back at my place And we were kissin? in the shower ooooh Put on the clothes on the table (on the table) Together agreeing on your name (girl) It feels, I?m yours Hold up before this triangle?s one on one All I know there?s the truth to be told (to be told) All that gives isn?t always gone (gone) See I went down on this roll before I just wanna be sure, so can we (Sips on wine just a little bit) (just a little bit) Can we (take a time just a little bit) (just a little bit) If it?s alright (if it?s alright) if it?s okay (if it?s okay) (Can we slow down just a little bit) Can we (just relax just a little bit) (just a little bit) Can we (just lay back just a little bit) (just a little bit) If it?s alright (if it?s alright) if it?s okay (if it?s okay) (Can we slow down just a little bit) yeah I just want to make sure that if we do this We don?t regret it Cause if the friction comes to static Then we just might as well forget it Cause nowadays I attempt to take a good look before I leap in Cause I could stay all by myself from through you Can?t believe it, no Put on the clothes on the table (on the table) Together agreeing in your name It feels, I?m yours Hold up before this triangle?s one on one All I know there?s the truth to be told All that gives isn?t always gone (gone) See I went down on this roll before I just wanna be sure, so can we (Sips on wine just a little bit) (just a little bit) Can we (take a time just a little bit) (just a little bit) If it?s alright (if it?s alright) if it?s ok (if it?s okay) (Can we slow down just a little bit) Can we (just relax just a little bit) (just a little bit) Can we (just lay back just a little bit) (just a little bit) If it?s alright (if it?s alright) if it?s ok (if it?s okay) (Can we slow down just a little bit) yeah (Over) don?t think that I don?t want you (Over) and that you don?t drive me crazy (Over) there?s just too many ?what if?s (Over) there?s way too many ?maybe?s Just one step back take a big breath No pressure baby there?s no stress It feels so good And I?m not sayin? we can?t do this, but can we Sips on wine just a little bit (just a little bit) Take a time just a little bit (just a little bit) If it?s alright, if it?s okay Can we slow down just a little bit Just relax just a little bit (just a little bit) Just lay back just a little bit (just a little bit) If it?s alright, if it?s okay yeah Portishead Chase the Tear Lyrics
11 Mar 2010 at 1:08amBrand new non-album single “Chase The Tear” by experimental band “Portishead”, released for Human Rights Day to raise money for Amnesty International UK, 9 December 2009 Looking out, looking in Going where Never been running round Hiding in stairs Unafraid felt the grain Open doorways full of shame My own life I resented Winter sigh summer?s gone Holding off tomorrow?s sorrow Brushing out, brushing in Losing out, losing thee Didn?t take my heart Didn?t fold, chase the tear Never let go, now I?m there It?s over, it?s over Winter sigh, summer?s gone Holding off tomorrow?s sorrow So I don?t want anymore solo Winter sigh, summer?s gone Holding off tomorrow?s sorrow So I don?t want anymore Lyrics Cause and Effect by Prince
11 Mar 2010 at 1:02amPrince’s brand new song “Cause and Effect” debut Minnesota public radio 26 February 2010 I am here. where are you? Ladies and gentlemen Ladies and gentlemen (cause and effect) hey, hey, hey If had the chance to do it all again I wouldn?t change a thing, except my next of kin There?s something on the tip of my tongue Got a taste for sin If you stamp your passport full of regret You have nothing to remember but a lot to forget Leave no enemies, leave no debt, no! Made in the image of cause and effect To no other anekatips.com man am I the subject I am what i am because & effect Cause and effect, cause and effect yeah! (hey, hey, hey) If i could talk to myself back then right now I?d say ?son you might wanna, stick around Something amazing is about to go down? If i could leave myself just one little note One that husbands and fathers wrote It say ?you need to be a superstar or grow up, but not both, no! Made in the image of cause and effect To no other man am I the subject I am what i am because & effect Cause and effect, cause and effect yeah! (hey, hey, hey) solo (cause and effect, ladies and gentlemen) (rock) I am here. where are you? Haha!! Don?t let them say your paper?s worth more than gold I see a generation lay down before they get old And getting endlessly sold (You need compassion) for one another (compassion) righter than wrong that?s what needs to be at the heart of every past and future soul song Made in the image of cause and effect To no other man am I the subject I am what i am because & effect Cause and effect, cause and effect yeah! (hey, hey, hey) look at y?all. brains splattered all over, moneyapolis Your Hands (Together) Lyrics The New Pornographers
9 Mar 2010 at 9:10pmLyrics for new brand song “Your Hands (Together)” by The New Pornographers, off their upcoming studio album “Together” out on May, 04 via Matador Records. Put-put-put your hands together Digging through and past the center Put-put-put your hands together Pick your gift for accident for Crude plays they used to stage (oh my) Put-put-put your hands together You can only cover so much territory of course Put-put-put your hands together Digging through and past the center Crude plays they used to stage (oh my) There is a Wind Lyrics The Album Leaf
9 Mar 2010 at 9:02pmThere’s a wind behind everyone! New brand video plus lyrics “There is a Wind” by The Album Leaf from their 2010 album “A Chorus of Storytellers”. Running so far ahead There’s a wind behind everyone One day we began Running so far ahead There’s a wind behind everyone Oh, where do we go in these days? Sole Brother Lyrics Born Ruffians
5 Mar 2010 at 5:12amJessica, I love you but I wish I was a sole brother! New Born Ruffians, first single from their next album “Say It”, released June 1st Get your act together, please. solo Get your act together, please You never ask sister to help with the chores that are physically straining I know I fake it, I wish I was a soul brother (?) Raekwon, I love you. I wish you were my soul brother. I know I fake it, I wish I was a soul brother Jessica, I love you but I wish I was a sole brother. Here We Are Juggernaut Lyrics Coheed and Cambria
5 Mar 2010 at 4:11amWe were stupid, we got caught, nothing matters anymore. So what? Here We Are Juggernaut. First official single by Coheed and Cambria from their upcoming album “Year of the Black Rainbow”. Album version of the song is available on the Coheed and Cambria’s Myspace since March 04. Keep your secrets in the dark, nothing matters anymore We were stupid, we got caught Courage broken, lashed and scarred We were stupid, we got caught bridge Answer me Chewing out my heart Spanish Sahara Lyrics FOALS
3 Mar 2010 at 3:55amOfficial music video and lyrics for “Spanish Sahara” by Foals, promo single for their second album “Total Life Forever”. The album is set to be released on May 10, 2010 (UK) So I walked into the haze And a million dirty ways Now I see you lying there Like a lie low losing air, air Black rocks and shoreline sand Still that summer I cannot bare And I wipe the sand of my arms Let?s bannish the horror the place that you?d wanna Leave the horror here Forget the horror here, forget the horror here Leave it all down here It?s future rust and then it?s future dust Forget the horror here, forget the horror here Leave it all down here It?s future rust and then it?s future dust Now the waves they drag you down Carry you to broken ground Though I find you in the sand www.lyrics-celebrities.anekatips.com Wipe you clean with dirty hands So god damn this boiling space Lets bannish the horror the place that you?d wanna Leave the horror here Forget the horror here, forget the horror here Leave it all down here It?s future rust and then it?s future dust ?m the fury in your head, I?m the fury in your bed I?m the ghost in the back of your head Cause I am I?m the fury in your head, I?m the fury in your bed I?m the ghost in the back of your head Cause I am I?m the fury in your head, I?m the fury in your bed I?m the ghost in the back of your head Cause I am solo Forget the horror here, forget the horror here Leave it all down here It?s future rust and then it?s future dust Choir of furies in your head, choir of furies in your bed I?m the ghost in the back of your head Cause I am Choir of furies in your head, choir of furies in your bed I?m the ghost in the back of your head Cause I am Choir of furies in your head, choir of furies in your bed I?m the ghost in the back of your head Cause I am Good Enough Lyrics Tom Petty & The Heartbreakers
3 Mar 2010 at 3:48amGood enough for right now, yeah! Tom Petty & The Heartbreakers are back! New song since 2002 album “The Last DJ”, here’s “Good Enough” for their upcoming album “Mojo”. They began streaming the song on their website on February 24, 2010 She was hell on her mama, impossible to please She wore out her daddy got the best of me And there?s something about her That only I can see, And that?s good enough You?re barefoot in the grass, and you?re chewin? sugarcane. You got a little buzz on; you?re kissing in the rain. And if a day like this don?t ever come again That?s good enough. Good enough for me http://www.lyrics-celebrities.anekatips.com/ Good enough for right now, yeah (repeat) God bless this land, God bless this whiskey I can?t trust love It?s far too risky. If she marries into money She?s still gonna miss me If you can read it, it?s not the original one And that?s good enough Gonna have to be good enough solo guitar By The Sword Lyrics Slash ft Andrew Stockdale
1 Mar 2010 at 2:22amTo live and die by the sword! New solo single by Saul Hudson (a.k.a) Slash featuring Wolfmother’s lead vocal Andrew Stockdale for Slash’ upcoming self titled album. The song was premiered on February 26, 2010, on spinner.com With the horses that you ride, And the feelings left inside, Comes a time you need to leave all that behind, Well they claim they?d like to know, and they wont could let you go And the people gotta run for the last show Well there is all we want To live and die by the sword, Well they tried to complicate you But you left it all behind All the worldly possessions Are left for recollections And finally it?s all gone They?re releasing all the hounds, What is lost can still be found, When you?re walking with your fear down on the ground Well there?s those who choose to run Following the setting sun, And now it seems the journey?s has begun Well there is all we want To live and die by the sword, Well they tried to complicate you But you left it all behind All the worldly possessions http://www.lyrics-celebrities.anekatips.com/ Are left for recollections And finally it?s all gone slash solo guitar With the horses that you ride And the feelings left inside there?s a time you need to leave it all behind Well there is all we want To live and die by the sword, Well they tried to complicate you But you left it all behind All the worldly possessions Are left for recollections And finally it?s all gone |
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