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Everything posted by Skummy

  1. Montague Terrace (which is admittedly brilliant) making the cut makes me think that's not the last we've heard of Scott Walker on the list. I can see him showing up again, either for the final Walker Brothers record, or something from Tilt, at least. I'm not a big Pink Floyd guy, but I love See Emily Play, and Arnold Layne from the same period.
  2. I have never played Fire Promoter mode. Tomorrow night I'll be booking someone else's promotion on Twitch, trying to do better at it than, among others, Gene Munny, Piper Niven and Suge D. I'm sure it'll be fine. https://www.twitch.tv/gingerpimpernel/
  3. Oh, I didn't realise you could place them outside the house, I thought that would just release them. A "zoo" is a great idea, I might give that a go. I currently have a pet hermit crab (HERMIT CRAB!) and snapping turtle in my house, but every other duplicate critter I've sold so far. I just took a Nook ticket to an island that was covered in cherry trees. Like, every single tree on there. It was the only fruit I didn't have, and I came away with like 80 of the things. Enough to plant them liberally all over my own island and make a tidy profit selling off the remainder. A very successful day! @Sousa, I love the idea of the DIY area, and have started to build one of my own. It's only a slight concern, as all the materials there are easily replaceable anyway, but would the stuff left out there be up for grabs by someone visiting the island, if they felt like just stealing it all?
  4. I adore Captain Beefheart - one of my favourite "celebrity" encounters in my life was being able to chat for a long time to John "Drumbo" French, who played drums on the majority of Beefheart albums, and sings vocals for the reformed Magic Band. "Electricity" is one of my favourite tracks of theirs - the bassline, Beefheart's drawn out vowels on the word "Electricity", just the overall weirdness of it, while still being identifiably a blues jam, it's just superb.
  5. Going live with a repeat of last night's wrestling stream here;



  6. A weird thing about Reach Out is that the producer told Levi Stubbs to "sing it like Dylan". It sounds crazy until you're specifically listening out for it, but the elongated vowel sounds at the end of lines - most notable on "gone" and "confusion" early on - are incredibly Dylanesque.
  7. "96 Tears" is also referenced in the Cramps' "Human Fly", with the line "ninety-six tears in ninety-six eyes", which a friend of mine misremembered as "Fifty-Six Tears", which subsequently ended up as the name of our shortlived band. I don't know much Love - they pop up on compilations, though I never liked anything enough to look further into them - "7 and 7 Is" is superb, though, and I honestly didn't realise it was as early a release as this. I'd have placed it later in the decade - which doesn't sound like much, but pop music was developing at such an accelerated pace that 1966 to 1968 could be world's apart. I honestly never knew that Stepping Stone was a Paul Revere song! Revere is someone I know by reputation, usually as a bit of a punchline/novelty act, and I'm not really aware of them ever having made much of an impression in the UK. The song I know better as a Monkees song, and then the later Sex Pistols cover. "God Only Knows" I think is honestly one of the greatest pop songs ever. Brian Wilson was, briefly, a genius.
  8. my Switch is showing 7+ hours to download this game. I left it on Sleep Mode overnight to try and do it, and connection dropped at 90%+ and had to start over. 😢
  9. they're hugely influential on the American brand of psychedelia (which tended to be more rock-oriented, and arguably more intense/paranoid, than English psych, which tended to be more pastoral and folk-influenced), so I'm not surprised to see them make the list. We're really getting into stuff that I'd expect most people to know now, so what I'm really looking forward to now is some out of left-field and international choices that I might not know.
  10. Yes, the weird sound on 13th Floor Elevators' recordings is an electric jug player. Really adds a weird, watery rhythm to a lot of their work. I adore them.
  11. I love Bert Jansch. I think it was Johnny Marr who apparently met him for a cup of tea while remastering one of his old albums, and said, "did you realise, back then, that what you were doing was so much heavier than all the people around you bragging about how heavy their music was?", and apparently Jansch just sipped his tea and said "of course". My favourite track of his is "Poison", which feels like if Nick Drake got angry instead of depressed; "Sinnerman" is a song my old band used to play, actually long before I ever heard Simone's version. As we did a lot of our songs at the time, we just took the lyrics from an old book of folk songs, and figured out a tune to fit. I was blown away the first time I heard Nina sing it. The Irish Rover is brilliant.
  12. I adore Amsterdam, maybe Brel's best work. It's just full of so much rage and indignation, and utterly unlike what anyone else was doing at the time. I'm a huge Scott Walker fan, but tend to find that his covers of Jacques Brel's work are over-orchestrated, and that they lose a lot of the seediness because of it - Amsterdam is about the only one that really captures the essence of the work, if anyone's wanting to hear the English translation. Bowie did a good version, too. The interesting thing about "House Of The Rising Sun" is that, at the time, a lot of contemporary versions framed the song from the female perspective - Woody Guthrie and Bob Dylan both recorded versions with the lyrics as "poor soul" and "poor girl", respectively, and versions as far back as the '20s do the same, before The Animals' "poor boy". Pretty much every version since The Animals has followed their lead and gone with "poor boy". It does change the feel of the song a tad. My favourite fact about that song, though, is that given it has elements of folk songs dated back to the 16th Century, it could be said that the song "The House Of The Rising Sun" is actually older than New Orleans itself.
  13. My diary is on the Road To Wrestlemania, and I just got to the first bit of booking that made even me question what the hell I was doing. 


  14. I love Roy Orbison, one of the greatest male vocalists there ever was. Be My Baby I consider the greatest pop song ever. Spector never did anything better. When Hal Blaine, the drummer on that record (and practically every other American pop song of the '60s) passed away recently, someone put together a Spotify playlist of songs that use that opening beat, and there are literally hundreds of them. Iconic. Leader Of The Pack is fun, but a little hokey - I don't think the Shangri-Las have aged as well as The Ronettes, or had enough of a soul-influenced backing to make some of their stuff age as well as other girl groups of the era. Still some lovely tunes, though - Remember (Walking In The Sand) being my personal favourite. Walk On By is an amazing tune. It's another song that's had some superb cover versions over the years - The Stranglers' version is the one I'm most familiar with, though Isaac Hayes had a great version too.
  15. The card for my first Saudi Blood Money show is up in the Dome, if anyone wants to predict some stuff.


  16. just because I love the JCC version;
  17. I love "Johnny Remember Me", it's such an odd song - it has a sense of "Ghost Riders In The Sky" style country to it, but distorted through the weirdness of Joe Meek's production and wacky electronics to give it that otherworldly feel, and then just getting increasingly bombastic. Brilliant, brilliant tune. I imagine we'll see Meek make the list again soon for "Telstar". It's been covered by, amongst others, John Cooper Clarke & Hugh Cornwell, The Meteors, and Dave Vanian of the Damned, all versions worth listening to.
  18. You would love them. Shakin' All Over has a really Link Wray-esque menace and swagger to it, which UK rock and roll just didn't have at the time. You can definitely hear why Lemmy was into them. They were also a major influence on Dr Feelgood, and Kidd's attention to the visual element, and the pirate gimmick, was really ahead of its time. The Pirates, sans Johnny Kidd, are still around, and while they're not exactly reinventing the wheel, they've got a couple of fun live albums out there. "September Song" is an interesting one, as it's another interpretation of a Kurt Weill song a la Mack the Knife, though this time without Bertolt Brecht, as it's from later in Weill's career when he had emigrated to America. It's from a satirical musical attacking FDR, and suggesting that government over-reach was the start of encroaching fascism in the US. At this point, Weill's music was still (along with a lot of songs from musicals) still being farmed for jazz standards and swing arrangements - September Song was covered by Sinatra and Crosby too - but within a couple of decades would come to be marked as a much more counter-cultural frame of reference, as the likes of Lou Reed, Tom Waits, William S. Burroughs, and David Bowie start mining the songbook in the early '80s. What we're starting to see as the list goes on is the slow emergence away from blues, jazz and gospel, and towards rock, pop, and soul. Spanish Harlem, the Shirelles and the Everly Brothers are all setting the tone for Phil Spector being primed to dominate the sound of pop music for a few years.
  19. Skummy

    Cover Songs

    I've only just discovered this, and I adore it;
  20. I loved the present day bits in Black Flag, just stupid hacking mini-games to find irrelevant, but exhaustive, lore about John Dee and the Voynich Manuscript. Yes please!
  21. "It Ain't Necessarily So" has one of my favourite rhyming couplets ever, with "he made his home in/that fish's abdomen". My Mum adored Billy Fury - the first time my parents went to Liverpool, she was insistent on getting a photo with the statue of him - but I've never really listened to him before. I like it!
  22. Blue Cheer's Summertime Blues is superb, but I don't think I know a bad version of it. Guitar Wolf's is extraordinary. I love Jacques Brel, and as I get older prefer his versions to the Scott Walker interpretations that made me aware of him. Walker is one of my all-time favourites, but the arrangements are all too bombastic for Brel, who should feel slightly seedy and paranoid. Nina Simone's version of this song is wonderful, though. Mack The Knife is a great tune, but the more I got into Kurt Weill and Bertolt Brecht, and into The Threepenny Opera, the weirder I find it that it became a finger-clicking swing standard. The Tiger Lillies do a good version that feels closer in spirit to the original, while maintaining most of the established English lyrics.
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