Movie review: “David Bowie Is” is a bunch of bullshit

Movie review: “David Bowie Is” is a bunch of bullshit

“Any proposition containing the word “is” creates a linguistic structural confusion which will eventually give birth to serious fallacies.” ― Alfred Korzybski

“Is,” “is,” “is”—the idiocy of the word haunts me. If it were abolished, human thought might begin to make sense. I don’t know what anything “is”; I only know how it seems to me at this moment.” – Robert Anton Wilson

“It depends on what the meaning of the word ‘is’ is. If the–if he–if ‘is’ means is and never has been, that is not–that is one thing. If it means there is none, that was a completely true statement….” – Bill Clinton

“Whatever you say it is, it is… NOT” – me

David Bowie on TV Space Oddity 1970

The title of the new Bowie exhibition mocks us, but in a fun-loving way. He knows what he’s doing, using only one word (other than David Bowie) for the title and it’s a completely intentionally misleading, or at very least, untrustworthy, word. So, for starters, let’s take a look at what the exhibition which is the subject of this documentary “David Bowie Is” actually IS. According to the Huffington Post:

‘David Bowie Is,’ contains more than 300 artifacts selected from an incredible 75,000 items Bowie had archived over the years.”

So this is not a documentary about David Bowie, it is a documentary about a huge collection of David Bowie “stuff” through which we will experience the different David Bowie iterations as they unfolded throughout the last 40 plus years, literally a middle-aged lifetime, my own, to be super-specific. It comes about a month after Showtime’s tight and classy “5 Years” documentary, which was SO good and SO right and SO short it leaves you wanting MORE. When you sit down to watch a one hour documentary about Bowie’s career, you know that they’re not even gonna try to tell “the whole story”. I know they just put it out to get ME, personally, excited and hungry for more. Maybe all this stuff from the exhibition will tell the whole story, if there’s enough stuff! Obviously, there’s a heavy-duty hype campaign being rolled out and Bowie is going out of his way to make sure it’s very fragmented and indirect, which is what we love him for.

What Bowie is perhaps best known for, is being the original unpredictable shapeshifting artist who never even tries to insult the audience by trying to act like the whole thing is not an act, if you catch my drift…

BUT, like all great originals, he is not original at all, as far as changing identity and fucking with public perception goes. As usual, it starts with rascal-visionary-genius-plagiarist Bob Dylan. Dylan is even more like Bowie than Bowie in this regard. He acts like he expects you to believe him, but he knows that you know that he knows…

I bring up Dylan specifically because I believe what Bowie is doing here is similar in some ways to Dylan’s “Chronicles”, which came out close to the great Scorcese “No Direction Home” documentary, which, in my thinking, sort of corresponds to the relationship between the recent Showtime retro documentary and the new retrospective museum exhibit and film documentary about said exhibit.

“To reveal art and conceal the artist is art’s aim.” – Oscar Wilde

No artist has made art as transparently about “concealing the artist” as David Bowie. From the get-go, Bowie not only never committed to a musical style, he never even officially committed to music as his primary medium as an artist, even when he wasn’t famous yet and no one cared if he decided to be an actor or a fucking mime or whatever.

Getting back to the Dylan connection, I now will digress to discuss the marketing of old shit, which is the business the Stones have been in for quite a while, Dylan has been quietly doing and Bowie, as usual, was one of the pioneers of. In the new world, because music is so literally freely available, selling music is hard, because it has been devalued, at least in a monetary sense. So who’s selling new music these days? Ace Frehley has been admirably (and rightfully!) successful selling his new shit on iTunes and Bowie and Dylan have been coughing up so much truly awesome old shit (the live cd that came as a bonus with the semi-recent “Station To Station” reissue is a revelation, how could it have been languishing all those years? And don’t even get me started on the inspirational balls-out triumph of the “Rolling Thunder” installment of Dylan’s Bootleg Series) that IT’S ALMOST AS IF THEY WERE VISIONARY PROPHETS WHO KNEW THIS TIME WAS COMING. But really, I figure they are artsy-fartsy genii who have a certain detachment that allows them to work the system to their benefit, rather than scurrying to catch up and adapt to it.

How did I get this far without mentioning McCartney, who waged a promotional campaign to promote the work of THE BEATLES (as if he needed to, but still, it seemed to help) and then went back out with a tour and documentary and reissues in a transparent effort to make room in the canon for WINGS?!?!?! And it fucking worked! But now, once again, the new Beatles audiophile collection is the latest, most coveted musical product being sold. THE BEATLES ALWAYS WIN FOREVER. The only music you can sell now is old music. Partially because old people (i.e.: me) had long ago been habituated to purchasing music and because Bowie/Stones/Beatles/Dylan etc. is music that has already been long-established as important and “worth paying money for”. I think this is true both in objective and subjective terms, but I’ve blah blah’d on this enough already.

As far as the movie goes, IMHO, it ate a bag of dicks. Before it started, there was a brief introduction in the theater, in person, by one Vivien Goldman (who seemed really pleasant and warm and enthusiastic) identifying herself as “the professor of David Bowie, NYU, Clive Davis Branch, Tisch School of the Arts”. So we got off on the wrong foot immediately because as anyone who knows me knows, even though I lack any academic accreditation in any field, I, KEITH HARTEL, AM THE FUCKING PROFESSOR OF DAVID BOWIE. So I got an axe to grind and the thing ain’t even started yet, but when it does, here come “Fame” cranking over the speakers. Are you fucking kidding me? There is no more hackneyed gesture in the world of Bowie than to use his ginormous perennial hit, “Fame”, when you’re watching something that’s trying to tell you about him. We get it: when he got really famous he wrote “Fame” about being famous and this is such a great example of his detachment from his surroundings, allowing him to look at his predicament from an ironic distance, or some such horse shit. It’s just so obvious. Why don’t you spell it the fuck out for me, you indignatious motherfuckers? It goes downhill from here.

“This documentary is the ultimate tour of the exhibition”, says one of the incessant English accents which beat you over the head throughout the entirety of the movie (I realize Bowie is a British guy from Britain and these are British people talking about a British exhibition BUT among other things, this film has totally ruined British accents for me, and very possibly may have turned me racist against the British). So here’s one of the problems: this exhibition is no different from anything you ever saw at The Rock and Roll Hall of Fame, except it’s all Bowie stuff. As it happens, politics aside, I LOVE visiting the RNRHOF and I could spend a whole day there, completely absorbed and fascinated (and I have done exactly that more than once). And since Bowie is my all-time favorite artist, more or less, I believe I’d be like a pig in shit at the actual Bowie exhibition. My point is, could you imagine seeing a film that starts with someone announcing “This documentary is the ULTIMATE tour of The Rock and Roll Hall of Fame”? I think that would sound totally fucking stupid, which is probably why no such movie exists (to date, at least).

RELATED: U2 are a Christian band giving you a gift called “Songs Of Innocence”. Why you wanna be so shitty?

The Bowie music sounds great cranking over the system (not “Fame” anymore, but THEY BRING IT BACK LATER, DUH!) and they flash shitloads of awesomely cool pictures, so really, someone had to go out of their way to make this thing suck. The first thing they do is show you a RICE SCULPTURE representing everyone born in 1947, a peak birth year in England. THANK YOU FOR EXPLAINING THE FUCKING BABY BOOM FROM A BRITISH PERSPECTIVE USING A FUCKING RICE SCULPTURE!!! Really helps me get a new perspective on Bowie (I mean that soooo sarcastically). Also, sarcasm intact, thank you for pointing out that Elton John and Marc Bolan were born around the same time, it never would have occurred to me, I had no idea… I NEVER WOULD HAVE GUESSED THAT CONTEMPORANEOUS STARS OF THE BRIT GLAM ROCK HEYDAY WOULD HAVE BEEN BORN AROUND THE SAME TIME AS EACH OTHER! So approximately two and a half minutes into the movie, they’re already hitting us with filler which I honestly cannot imagine would make the movie one iota more interesting to anyone who would ever see it. At this point, two and a half minutes in, I’m already pretty sure that this film just not for me.


In the next segment they show the recently circulating clip of 17 year old Bowie on TV talking about “Society for prevention of harassment to longhaired men”, which was a simple PR setup, a way to get an up and comer on TV with a gimmick. That’s worth seeing, but they spent way too much time setting the scene for the sociological environment in which this took place. It’s like they think no one ever saw a Beatles documentary.

DAVID BOWIE – First TV appearance 1970 – SPACE ODDITY

He becomes David Bowie instead of “Jones” in 1965. There’s a healthy dose of bullshit revisionism (IMHO) when they point out Bowie’s debut album was released on the same day as Sgt. Pepper, and he was on the wrong side of far-outness or some such. But really, Bowie’s first album was perfectly weird and artsy-fartsy enough for the times, he just hadn’t written “Space Oddity” yet. In other words, his debut album was not one of those great, fully formed debut albums and it took him a while to find his groove, like so many of the all-time greats. Bringing Sgt. Pepper into the dialogue is a bunch of bullshit, totally irrelevant. BUT, it is cool that they show the original acetate of the Velvet Underground’s “Banana” album, which was given to Bowie by his manager before it’s actual release, and it reminds us why he was influenced by it before anyone else of note and he’s gotta be their most influential proselytizer. Still, it’s not that great to see it in a movie with some guy explaining that Bowie liked VU. But credit where credit is due, that’s an impressive artifact they got in there.

Then they start talking about Lindsey Kemp and the mime shit and Bowie discovering that he might want to try being “different people”. They gloss over the fact that he was already doing that, playing Saxophone in mod Who-ripoff bands, then trying his hand at singing and writing, then moving from mod to Kinks-influenced music-hall style. This was a guy trying all different shit to try to make it. It’s about the need to make people pay attention to you at any cost. An audience to fill the void left by the dysfunctional family structures experienced by so many baby boom era children, who were brought up in an atmosphere of repression and denial due to the unprecedented atrocity which was how the West WON. I believe the trajectory of his early career in many ways resembles that of Steve Martin. Reading Martin’s excellent “Born Standing Up” memoir, I was surprised to learn that he was not a “born comedian”, he just wanted to find a way to make people watch him, he needed an audience. He put in time as a magician, a banjo player, a dramatic actor and a comedy writer before becoming the world’s most successful stand-up comedian, then a big movie star and now he writes books and makes records with Edie Brickell. Steve Martin may be more shapeshifting and ultimately unknowable (most likely even and especially unto himself, but I digress), than Bowie.

After all these relative irrelevancies (‘cept the VU acetate) they have a bunch of “customers” talking about “how fascinating the first room in the Bowie exhibit is”. It comes across very similar to when a lowbrow comedy is released and they have a commercial with exiting civilians enthusing about how much fun they had because quoting people who write about movies is not gonna make a very good advertisement.

Next: they explain “Space Oddity”. They’re talking about the first pictures of Earth taken from space, and how it was the first time we knew the Earth looks blue from space, and that it inspired the line “Planet Earth is blue” from Space Oddity. Approaching 20 minutes into this thing, here is reasonably interesting fact #2. They analyze the visual content for the album cover of what they refer to as “The Space Oddity Album”. This is bullshit because anyone who gives half a shit knows that the album was titled “Man Of Words, Man Of Music” in the UK upon initial release whereas it wasn’t even released as an album called “Space Oddity” in the US until after the Ziggy breakthrough, and of course, the American version (the one actually titled “Space Oddity”) had Ziggy era photo-shoot stuff on the cover. They do make some interesting observations about what the cover of the original UK release had on it, but referring to it as “Space Oddity” is once again, a bunch of bullshit. Maybe I’m just being bitchy because I never had the original UK one on LP.

Then this film, this mockery of a travesty of a sham, takes a turn sharply for the worse, when they start talking about how Bowie’s COSTUME, when he appeared on “Top Of The Pops” for the first time ever in 1972, changed various random, ordinary British accent-speaking peoples’ lives. I know it’s an art exhibit and I’m aware that music isn’t art (I really need a sarcasm font). Let me remind you, this movie started with a rice sculpture about the births occurring in Britain in 1947, then we talk about Bowie’s “overlooked” debut album, which no one has ever listened to, and then we examine Bowie’s breakthrough hit single, “Space Oddity”, which we act like was part of an actual important Bowie album (which it sort of ain’t) and then completely ignore the fact that “Man Who Sold The World” and “Hunky Dory” were created (except for “Oh, You Pretty Things” obligatory playing in the background while more British accents explain how Bowie had “a bleak view of the future” at the dawn of the 70s). My beef is that this period that is being glossed over is, in my opinion, the most crucial phase in Bowie’s development as artist and superstar. But what do I know? I’m only a “self-proclaimed” professor of David Bowie, not a real one, from the Clive Davis branch of the Tisch school of the Arts at NYU. The suppression of my obviously very important thoughts on this topic is clearly a symptom of the intentional dumbing down of the culture.

Kansai Yamamoto David Bowie Now we’re getting to close to the first time during the movie where I had the urge to fucking walk the fuck out. Here’s the low point: A long speech, delivered in broken English, by Japanese designer Kansai Yamamoto, who designed the fabulous, revolutionary stage wear for “Ziggy”. In no way would I wish to say anything to detract from his phenomenal creative contribution to the theatrical presentation of Bowie’s most celebrated and revered “Ziggy Stardust” era. But he just didn’t have a whole lot to say (why should any real artist, aside from in their art?) and his rambling, incomprehensible speech, which mainly seemed to express “we liked what each other did, so it worked”, was the first point in the film where there was no doubt in my mind that if I was watching this at home on TV, I’d change the channel. It would have been better if he spoke in Japanese with subtitles. Listening to this guy who can hardly speak English talk about his first trip to New York was EXCRUCIATING. Now, getting back to my earlier theme that this is a movie loaded with pointless filler, this guy’s speech, which is impossible to really understand, took WAY too long. This was the first time I checked to see how long I’d been watching this fucking thing, seemed like forever, but it was only a little over a half hour, so as a fucking professional, I resolved to stick it out until the end, or at least until I caught a cue that left no doubt in my mind that it was time to walk the fuck out.

Next thing you know, they skip to the fucking Union Jack jacket he’s wearing on the cover of the 90s era (really good, actually) “Earthling” album. I’m pissed! Did I say this is a bunch of bullshit? The film starts out chronological and now they seem to be visiting random times when he had some garment that someone can talk about. In retrospect, I’m surprised I managed to hang for another 20 or so minutes. “Fashion” comes up on the soundtrack, keeping with the very INSPIRED (there’s my sarcasm font again) tone set by the earlier employment of “Fame” and “Space Oddity” to assist in not telling a potentially extremely fascinating story.

Finally, the song creation part of the exhibition gets some coverage. I can’t complain when they bring up the Burroughs cut-up technique and Eno’s “Oblique Strategy” techniques. This is the first, and almost the only, truly worthwhile insight into Bowie’s creative process that’s been presented, as far as I’m concerned. Since I am an arch-nerd, super-fan, self-proclaimed professor of Bowie, there’s no new information for ME here, but that’s not a criticism. I am, however, unsurprised when, disappointingly, this aforementioned relevant and illuminating insight into Bowie’s creative process at his artistic peak takes less than 3 minutes to cover. And then it’s on to…

“The guy from Pulp!” I like Jarvis Cocker, I like Pulp and I think he’s an interesting and smart commentator. At this point, I thought the movie might be turning around, finally getting really interesting, informative, insightful. Jarvis Cocker is a witty dude who knows his Bowie. But in this movie, he is merely “the guy from Pulp”. OK, guy from Pulp, it’s make or break time. What are you gonna bring to the table?

“I wanted to talk to you a bit about David Bowie’s writing, and I really do mean his writing because you’ve seen it, earlier on. That was one of the things that really struck me when I came to this exhibition, was to see his handwriting.” Listen here, guy from Pulp, DAVID BOWIE’S FUCKING HANDWRITING IS ALL OVER THE BACK COVER OF “HUNKY DORY”, ONE OF HIS MOST POPULAR ALBUMS. DAVID BOWIE’S HANDWRITING APPEARED IN A FAN CLUB ADVERT INCLUDED AS AN INSERT IN “ALADDIN” FUCKING “SANE”, DAVID BOWIE’S HANDWRITING APPEARED IN THE GATEFOLD TO FUCKING “DAVID LIVE”. DAVID BOWIE’S FUCKING HANDWRITING IS NO FUCKING MYSTERY AND I DO NOT BELIEVE THAT YOU, GUY FROM PULP, SERIOUSLY WERE CURIOUS TO SEE IT. I guess seeing it on the actual original paper is pretty cool, as cool as the other million examples taped to the walls of the rock and roll hall of fame, but this is the part of the movie where I actually became enraged. Fucking handwriting? It gets WORSE…

Guy from Pulp says “it had a bit of the look of the 14 year-old girl’s handwriting”, meaning, legible and a bit round and pretty looking, HOW UNIQUE FOR GENDER-BENDING ARTSY-FARTSY TYPES who write POETRY (lyrics, technically, but you catch my drift). Gene Simmons has equally interesting handwriting. Handwriting is just not that interesting, at least not to me. It is my contention, especially in the “paperless” age, that all people’s handwriting is unique and idiosyncratic in a way. And who fucking cares? I do not believe this is what the guy from Pulp was really the most interested in, I believe they needed a cool, smart, famous, funny guy to make it seem like it’s worthwhile to discuss Bowie’s handwriting. But I was not fooled. The guy from Pulp also mentions the “Bowie Nights” which were a kind of 70s-80s punk, new romantic nightclub cultural thing in Britain, which I believe did actually mean a lot to the guy from Pulp, but it was only brought up as a sort of sidebar to his bland remarks about Bowie’s handwriting, which I think he was blackmailed into speaking about. Because it’s just dumb.

Here’s another tired trope applied to all sorts of artists working in the field of music, inevitably trotted out to kill time, or if I pay attention to the paranoid voices in my head, to slowly kill me, personally: “The recording studio for Bowie is like a canvas”. I’m not even gonna say anything about that one, but if I did, I would need a SARCASM FONT. So then, this other guy that said that last obvious quote STARTS TALKING AGAIN ABOUT BOWIE’S FUCKING HANDWRITING which he say is, “almost sort of naive in a way”. And then some civilian attendant of the exhibition weighs in with “It’s really, really cool to see the handwritten lyrics, it’s a bit trippy and amazing.” This last remark is the only one I fully agree with and endorse but I wish to point out that WE HAVE HAD THREE DIFFERENT POINTS OF VIEW ON BOWIE’S FUCKING HANDWRITING!!! Now let’s think back to that rice sculpture in the beginning of the film. Have I mentioned this movie contains an exceedingly high percentage of FILLER? It seems to be getting worse, but I don’t stay for very much longer after this.

At this point I’m thinking, “Give me one more reason to walk out, and I’m OUT.”

Suddenly and unexpectedly, there is one more brief high point when they show sketches Bowie made for his aborted “1984” musical which morphed into the wildly original and super weird and cryptic “Diamond Dogs” album and tour. These storyboards are dark and weird, the real deal. Another strong motivation to see the actual exhibition if it ever made its way to, God forbid, New York.

Now suddenly we’re being brought up to date with the guy who designed Bowie’s most recent “The Next Day” album cover. I thought it was cool how they just put the white label on top of the “Heroes” cover. But how much is there to say about it? What’s the mystery? We see different versions with every other classic album cover he ever released covered with it. Basically, they make the point that they really put some time into deciding which iconic Bowie album cover would be defaced with “The Next Day” label. Again, it’s a pretty cool idea but way over-explained. I concede it was neat to see the other possible covers, but still, FILLER.

And here was my cue to leave:

“On working on the exhibition we’ve met many people who say David Bowie literally changed their lives. We wanted to illustrate that with the work of a single fan, who at the age of 14, made the most beautiful scrapbooks. That boy turned into a man and eventually into a visiting professor at the Royal College of Art. Ladies and gentlemen, I’m delighted to introduce…”

I’m outta here!!! I’m a lifelong Bowie fan. He didn’t change my life because he was always there, for which fact I have my parents to thank. David Bowie didn’t change my life any more than food or air or water or the group Kiss (although he’s been a stronger consistent influence and source of inspiration to me than Kiss or any other artist.)

So like Jane’s Addiction sez, “I walk right through there door. I WALK RIGHT THROUGH THE DOOR.”

When Robin Williams recently killed himself, the dreaded Facebook was LOADED with all sorts of dumb, irrelevant opinions about suicide. You know, “whether it’s the right thing to do”, as if the suiciders could, should, or would possibly give a fuck about anyone else’s whiny, self-absorbed, self-important, self-ISH opinion on this weighty topic, and I shared this link of my favorite current comedian, Doug Stanhope, to express my personal attitude on the matter. He uses walking out of a movie as a metaphor for suicicide. I’m presenting it, ironically enough, simply as the correct, sane, intelligent reason for leaving an actual movie before it’s over:

Life isn’t for everyone (Doug Stanhope)

No one should blame you for walking out early.


David Bowie Wants Ideas MP3 by BongWater from Double Bummer
All I Want / Heroes(LCD Soundsystem< David Bowie Covers) MP3 by Lightouts
(David Bowie I Love You) Since I Was Six MP3 by The Brian Jonestown Massacre from Take It From The Man!

ANOTHER ONE BY KEITH: What is going on with Tom Petty that he feels a need to rock so fucking hard at this specific time?

Alrighty facehookers you know what to do. Comments always welcome.

Best New Podcasts and Radio shows based out of NJ and NY

Best New Podcasts and Radio shows based out of NJ and NY

WPRB Jon Solomon Radio show

We love radio. We grew up on it and before there was the crazyness that is internet these days we relied on college radio that was located on the left of the dial. Here’s a few of Best New Podcasts and Radio shows based out of New Jersey and New York. I’m sure there are more so if you do a show and want to get listed just let us know and follow us on twitter and with the other facehookers. We’ll post a update.


AUDIBLE AFFECTS via WTSR by Jerry Lardieri
We love Jerry Lardieri’s taste in rocknroll music. We dig his band too The Brixton Riot. He’s only had a couple shows but so far he’s off to a roaring start. It’s a great way to spend a friday morning as he plays the very best new and old REAL alternative music has to offer all in one tight set of music. Dig it. Here’s his website and facebook

Audible Affects – Episode #2 (Original Air Date 9/05/2014) by Audible Affects on Mixcloud

No Format Radio via WRSU by Jeff Wertz
Jeff used to do a show called Flexible Vinyl only show for years and years. He’s since passed the torche to Doug Vizium so the punk flame carries on. This is more free-format but well worth tunning in.

No Format radio 6/16/14 WRSU FM by Jeff Wertz on Mixcloud

WPRB Radio Jon Solomon at Home radio show

Keeping Score at home on WRPB by Jon Solomon
For folks who know any thing about the deep New Jersey music scene Jon is practically a house-hold name. Even on Christmas when he does a 24hr xmas show. He posts meticulous show notes about what songs he spins. Here’s his website to see waht I am talking about Follow him on twitter or better yet xatch him on Weds 7-10pm on WPRB.

Flexible Vinyl on WRSU by The Slugger
Ok while you won’t hear anything pre 1990 on this radio show and that is pushing it – don’t panic because the hour long show is a lesson in punk music. Shit if you heard of half the bands you’ll be way more punk than me. Seriously awesome show.

FVRS 9.18.14 by The Slugger on Mixcloud

More podcasts David Yow Vs Live from The Barrage
Conan Nuetron on Radio Thursday 11AM EST
Our old podcast – Review Stalker Show #34

Great Radio MP3 by Bongwater from The Power of Pussy
Wolf Like Me (TV On The Radio Cover) MP3 by Local H from Awesome Mixtape #1
Radio MP3 by Nude Beach from II
Radio Free Europe MP3 by REM from Murmer

I’m sure there are like a million songs about radio we missed. Name some in comments!


RIP LOU REED – Rock-N-Roll Animal Machine

RIP LOU REED – Rock-N-Roll Animal Machine

Lou Reed Rock-n-Roll

RIP: Dead at 71 Mr. Lou Reed was an idle to the nyc art scene and beyond. Somewhere in heaven he’s telling a band they suck and all we have left is David Bowie, Keith Richards and Mick Jagger. They were from an era of music that was so original that we will never see or hear such a thing ever again. Andy Warhol’s magic and vision catapulted this other wise coffee house bound band into our collect unconsciousness not just in America but all over the world. NYC as the center of universe for many and if you never ever listened to the velvet underground you already know the music was as pure as the purest gold. Dirty but with a sparkle of magic glossed over it because in essence Lou Reed was what huge part of what defined cool for many of us that can whip out a The Velvet Underground cover at the flip of a dime.

LOU REED more recent photo
Download several versions of “ROCK And ROLL”
Rock & Roll” [Full-Length Version] MP3 from Loaded
Rock & Roll ” (Demo) MP3 from Loaded Disc2
Rock & Roll” [Alternate Mix] MP3 w/ Nico cackling in the begining.
Rock And Roll” 10:09 LIVE version MP3 from LOU REED from Rock and Roll Animal
Rock & Roll Part 2” MP3 by Bongwater response.
Rock N Roll” MP3 (COVER) by The Runaways

We hope one day we can write a song as great as this one.

Lyrics “ROCK & ROLL” by Lou Reed

Jenny said, when she was just five years old
you know there’s nothin’ happening at all
Every time she put on the radio
there was nothin’ goin’ down at all
not at all

One fine mornin’, she puts on a New York station
and she couldn’t believe what she heard at all
She started dancin’ to that fine-fine-fine-fine music
ooohhh, her life was saved by rock ‘n’ roll
hey baby, rock ‘n’ roll

Despite all the amputation
you could dance to a rock ‘n’ roll station
And it was all right
it was all right
hey babe

Jenny said, when she was just five years old
you know there’s nothin’ happening at all
Two TV sets, two Cadillac cars
ahhh, hey, ain’t help me nothin’ at all
not at all

One fine morning, she heard on a New York station
she couldn’t believe what she heard at all
not at all

Despite the amputation
you could dance to a rock ‘n’ roll station
It was all right
it was all right
oh, now here she comes now-now

Jenny said, when she was just five years old
you know there’s nothin’ happening at all
Yeah, every time she put on the radio
there was nothin’ goin’ down at all
not at all

Then one fine morning, she put on a New York station
and she couldn’t believe what she heard at all
She started dancing to that fine-fine music
ahh, her life was saved by rock ‘n’ roll
rock ‘n’ roll

Despite all the amputation
you could dance to the rock ‘n’ roll station

It’s all right, all right
all right, all right
All right, it’s all right
all right, all right
Baby, baby
baby, baby, ooohhh

Music for bad weather and storm people

Music for bad weather and storm people

Music Playlist for bad weather and bad storms - aka sandy frankenstorm
Fuck you #Sandy the #frankenstorm. To hell with everybody who keeps ignoring global warming issues in politics and not trying to reduce your global footprint somehow. We’re all guilty of this in many ways. I hope we survive this natural disaster and it does not become some apocalyptic scene. Anyway here’s a playlist of a bunch of songs about inclement weather, rain, sleet, floods and snow to help you brave this situation.

Playlist for badweather:
01. Smells Like Rain MP3 by Unsane from Occupational Hazard (1998) When i think of storms and chaos sometimes i think of the walls of guitar gutter these guys create.
02. Raincoat’s Room MP3 by Swell Maps from Jane From Occupied Europe (1980) An instrumental jam that sets up mood. Amazing record all around of an indie guitar sound that has not changed much since.
03. Rain Test MP3 by Aviso’Hara from Our Lady of the Highway (2001) A slow jam with best line from a movie. “Give me the strength to die well” Name that movie!?
04. Date With The Rain MP3 by Frankie Gee from Groove Merchant Turns 20 compilation. This is a funky one. We’re not just noise blog here. We like the funk the boogie.
05. Seven Seas MP3 by Echo and The Bunnymen from Ocean Rain (1984) This originally came out while I was in freaking just in Highschool but it’s such a stand-up album all the way . Great live band too.
06. Thunderstorm MP3 by the original Buzzkill from their first full length CD release I feel like myself again This is dirgy punk. “This is a stormy Monday and everyday after that!” Good mosh-part at the end.
07. Rain MP3 by Bongwater from Double Bummer CD on Shimmy Disc (1988) Is this really a cover written by John Lennon & Paul McCartney? I just know this is one of my favorite NYC bands from the 1980s. Period.
08. Pouring Rain MP3 by Fishbone from Truth & Soul (1988) This is one of their slow soul jams that really shows how this band could groove. Also another amazing live band that I saw about 8x I think in their heyday. Still awesome now. So check them out. Nobody makes music like Angelo and his boys.
09. The Waves MP3 by The Draymin from their new one Should’ve Known Better (2012) This is particular tune is very alternative grunge. Nice acoustic song with great singing. Check them out.
10. Rain Bird MP3 by Love & Rockets from Earth * Sun * Moon (1987) There is used to be this dark band called Bauhaus. this is an off-shoot of that. The music was always ethereal, dark and inspired. File under #Goth
11. Behold The Hurricane MP3 by The Horrible Crowes from Elsie (2011) Would be almost impossible for this band not to sound like the Gaslight Anthem no matter what Brian Fallon does. Good songs on this record.

Songs About Love & Giving Thanks

Songs About Love & Giving Thanks

Don't Throw  Stones - Thank you!

As we prepare to feast today I thought I’d post some songs about love and giving a big thanks to the Review Stalker readers, Twitter Followers, music fans and bands. All 3 of you know who you are so a sincere thank you! Finding good songs that are a true thank you was hard. Anyway, It was little over a year ago we went big time with the official RS blog domain. Everybody wants to own their own brand. Right? The unofficial one lived for many years on blogger. Not a huge leap really just more control on this end. I basically just promised myself to put more than 5 cents of my time into it because I spent a lot more time than that listening to all sorts of music anyway and visiting other great music blog sites. Plus it’s always nice to keep one’s ears fresh. So I built a better mouse trap. Anyway, thank you for sending the latest and greatest new music so keep it coming people! Now go get stuffed. I have to go work on my best of 2011 list.

Thanks Giving Playlist:
01) Thank You (Falettinme Be Mice Elf Agin) MP3 by Sly & The Family Stone (1970) Nothing says family like a Sly song. Such great music for such song that was written during the middle of the Vietnam war.
02) Very Nervous and Love (Album) MP3 by J. Mascis from Several Shades of Gray (2011) Fantastic mellow J release from this year. It’s going in the consideration pile for best of the best.
03) Thank You Jack White MP3 by The Flaming Lips from the Flight Test EP (2003) Funny personal diary song by Wayne Coyne and the boys giving thanks to Mr. White.
04) Inside of Love MP3 by Nada Surf from Let go (2002) One of the best guitar pop bands of the past two decades. I’m on the hunt for the female fronted version of this band. Any recommendations?
05) We All Love Mother MP3 by Crowder Brothers (1936) From Robert Crumb’s The Stuff That Dreams are Made of A very rare and obscure hillbilly song.
06) True Love Will Find You In The End MP3 by Daniel Johnston from 1990
07) You Don’t Love Me Yet MP3 by Bongwater from Double Bummer CD (1990). Probably one of my favorite covers & around songs all in one. I think I’ve posted it at least 3 times in the history of the RS blog. My daughter just mad my day already by asking to turn this one up. Usually it’s the opposite.
08) Lovenest MP3 by The Wedding Present from Seamonsters (1991) This is my favorite David Gedge release. Maybe because it’s the first one I ever heard. Warning it contains mountain high guitar walls of sound.
09) Don’t Laugh (I Love You) MP3 by Ween from God Ween Satan The Oneness (1991) Quite frankly no music fan should be without this record. It’s a critical element in the lo-fi genre.
10) Love Buzz MP3 by Nirvana Live in Amsterdam 11/25/91. This is a amazing live recording. Totally in their prime in this live set. If you friend the RS blog on the bookface there you will find a link in the notes to download the whole set.

Now go make a list and support your local record store tomorrow on Black Friday. Happy Hunting!