Fuck you, Baby Jesus

Written by

Eef Barzelay – Jews for Jesus Blues (live)

“So, do you go to church in Seattle?” she asked.

I smirked. I knew what she meant. She meant, “Where do you go to church in Seattle?”

I was crashing a family dinner of a friend of a friend in the suburbs. Like usual, I had spent most of the evening refilling my wine glass and flirting with the mother.

Thus far, she had been duly charmed.

I fingered my glass of White Zinfandel and glanced out the window. Across the plots of potato and rolling meadows I could see a thin plume of smoke, probably from a bonfire.

“Burn this,” my mother would say every couple of months in middle school, handing me a box of papers. “And remember to stay and make sure it’s all gone.”

I would stand on my tiptoes to grab the box of matches from above the fridge, then head down the street to the unused plot where the neighborhood had set up a mini-dump of sorts. Letting the box drop heavily on the dirt, I’d make a tepee with Alliance Life magazines and start a flame. Steadily I’d add more paper.

Most of it was newsletters from the mission or other random information with potentially compromising personal information about the other missionaries in Indonesia. I’d poke the curling, blackening papers with a stick, making sure all the ink was seared from their pages.

I took a sip of wine, sizing her up over the rim of my glass. I didn’t know how to explain that somewhere along the line my faith had been seared right off, that I must have accidentally dumped it into the fire with the rest of the box.

“No, I don’t go to church in Seattle,” I deadpanned.

[Buy Clem Snide’s End of Love.]

…or else you gotta stay all night.

Written by

Bob Dylan – If You Gotta Go, Go Now

Dylan, for whom many have sacred feelings, is cocky here. Cocky, presumptious. “It ain’t that I’m questionin’ you / to take part in any quiz / it’s just that I ain’t got no watch / and you keep askin’ me what time it is.” And the crowd laughs. They know it’s true. Is she hanging around, is she going to take off her shoes? Whatever.

The song is simply constructed. Verses in meters ticking over. Dylan is acclaimed for his elusiveness, his well constructed lies, his appropriation of the poetry and music of his elders with an acerbic bite, shoving it down the mouths of his contemporaries thinly-suited and smoking, but here we’ve got a kid that just ain’t worried about nothing. “It ain’t that I’m wantin’ / anything you never gave before / it’s just that I’ll be sleeping soon / it’ll be too dark for you to find the door.” When the song ends, a woman in the crowd says “What do you do for a living?” and Dylan, I’m guessing he’s meeting her eye, laughs. “God, hey, anything you say!” [The Bootleg Series Vol. 6: Concert At Philharmonic Hall.]

“Where are your friends tonight?”

Written by

The Strokes – Reptilia

Despite the hype, “Reptilla” failed to set the world on fire. A friend who spends time considering details of this nature argues the second single off The Strokes’ second album arrived on the airwaves too close on the heels of the Franz Ferdinand two-part anthem “Take Me Out.”

He has a point: Room On Fire dropped four months before Franz Ferdinand, but the former album’s original single, “12:51,” distracted the listening population long enough for “Take Me Out” to take root; “Reptilla” arrived later as the underfed, unwanted triplet. There wasn’t room, which is a damn shame considering its chorus is more compelling than anything in either of its predecessors.

We find our narrator (Julian Casablancas) moving on from the girl in “12:51” who was happy to purchase 40s and return to her parents’ abandoned pad. Now, however, the evening is young; he wants to go to that party. Albert Hammond Jr.’s guitar shreds the darkness. A statement of purpose for anyone of a certain mindset: “Yeah the night’s not over / You’re not trying hard enough.”

“Take Me Out” begins, “So if you’re lonely, you know I’m here waiting for you.” “Reptilla” isn’t so solitary. The Strokes tried to find you. Now it’s your turn to return the favor.

[Room On Fire.]

Pink noise for the masses

Written by

Kaki King – Playing With Pink Noise

Have you seen Kaki King play? It’s how I imagine Jackson Pollock splashed his floored canvas. Ligaments at work with flex and jerk reaction – a blur of glitter. I know being flabbergasted by the technical gifts behind any delivery has no consistent correlation to the song itself being a worthy piece of work, but it adding to the sound is at times a worthy admission. This is audio, but do not miss the visual accompaniment. [Purchase.]

There’s no reason yet why they took your friends

Written by

Blindspott – Phlex

I am profoundly unsettled by the realization that my friends continue making decisions and living their lives even when I move away. [Buy.]

(Picture by Glenn Jones.)

REVOLVER

Written by

The Beatles – Eleanor Rigby

I spent a few nights with Billy the Busker every week. He would set up, a microphone and guitar his only ammunition, along the boulevard and play songs from the 60s, ignoring the occasional requests for Oasis and Jason Mraz from stumbling passers-by.

He was playing Lou Reed’s “Perfect Day” when I sat down in front of him, legs crossed. Drink Sangria in the park. He asked for my name, asked if I knew the song, smiled when I nodded, allowed me one request, I said “anything Dylan”, he laughed and started plucking away at “Don’t Think Twice, It’s All Right”.

I couldn’t help myself. I sang along.

He stopped singing, turned the microphone towards me, nodded. I sang into it, felt the crackle of my best Bob improv, felt embarrassed and empowered and happy. Billy kept playing along, chuckling when I would forget the words.

People would watch, nod, throw coins, then chase something somewhere else.

Most nights we would finish sitting on the curb, sharing a beer. Then he would go home and I would go home.

This one story Billy told sticks to me. He was playing in a band, meant to be opening for some songstress – I can never remember the name, I usually make it up – when she pulled out because she was tired or a Communist or stuck on a bus somewhere or something like that. Anyway, his band ends up headlining the night to make up for it. They sing a few songs. Get a few cheers. One of the songs was The Beatles’ “Eleanor Rigby”. He said they slowed it down, balladified it, made it better.

I laughed.

The story goes that Billy had the bartender slide him a drink at the club’s counter, and was sitting there mulling over the night’s events when he felt a kind of presence on his shoulder. When you know somebody is there but you’re not sure what and can’t know if it’s safe to check. So he turns around. It’s George Harrison. And George tells Billy, “Outside of what we did with it [Eleanor Rigby], that was the best version I’ve ever heard.”

I would never have believed him, except he did play that version of “Eleanor Rigby” for me, and it really was that fucking good. I’m almost goddam sorry to give you the original when I know, on a curb somewhere, there’s Billy with his guitar and his microphone and that song in his lungs.

LOVE

Written by

The Smashing Pumpkins – Love

True love has many faces. Andy Roddick loves Brooklyn Decker for different reasons than the guy paging through her Sports Illustrated Swimsuit Edition does. (You have to imagine she feels differently about each member of that duo as well.) A mother loves a daughter in a different way than she does an ex-husband. Eminem loved rap, then Kim, then Vicodin. And always Hailie. The teen on the R train who wrote “I love me” in fading Sharpie on her too-tight pink yoga pants is categorically correct, if grammatically false. Brick Tamlin loves lamp, unconditionally.

So when Billy Corgan sings “love, love – it’s who you know,” who the fuck knows what he means. But those fuzzed out guitars sure are lovely, right? [Purchase.]

A missed sky seat

Written by

Neutral Milk Hotel – Engine

Engine is a three-minute b-side to the single ‘Holland, 1945’, recorded underneath Piccadilly Circus, London, and to dismiss this as mere filler would not only be to lose the point entirely, but to lose out on a master class of song writing. Art is a subjective power, so with freedom I say this is the missing twelfth track of ‘In The Aeroplane Over The Sea’; furthermore, it grows louder and truer with repetition. Forever fresh. Mangum bounds between the strain of wondrous lyrical offerings (“And sweet babies cry for the cool taste of milking.”) and the elegant ooze of frosty melody, as a singing saw weeps with grace, as if deep in thought on some rotting deck chair, with fields of fog the only view to see. The acoustic guitar is quietened, appearing only through your right-ear and then gone again, and a rhythmic section, the sound’s guide, is itching to expound its own self on a grander scale, but always keen to keep with the instruction of refrain. And to all an end will come – outside sirens emanate freely, a cousin to singing saw, and their swirl fades to the lone clap and trap of hand. “Thank you.” All music should be recorded in the London Underground. [Purchase.]

Now I’m lying on the driveway, passed out

Written by

White Apple Tree – Passed Out

At 9:30 am last night I threw up. It was dark red, like the wine I drank. I hadn’t vomited since Mattro’s bachelor party a year and a half prior.

I’m an alcoholic; I know that. Most nights I can’t sleep without a few drinks to calm me down. I rarely get through a shift at work without a stiff glass.

My roommate is a cocktail snob. He’s helped me branch out beyond Jack and Cokes into the realm of Old Fashioneds, Tom Collinses, Between the Sheets. But last night was all about Fuck Work I Hate This Goddam Shit and I drank and drank. And drank.

Lying in bed I wiped the sweat off my forehead and kind of wished I couldn’t feel feelings. It was miserable. Then I knelt before the John and puked my brains out. Bits got caught in my teeth and my gums took on a maroon hue.

Wine, more than anything other than biting my tongue, makes me aware of my teeth. I can feel them, how dry they are.

When I lived in California, my drinking was stoked by Michael Lee (pictured), an alcoholic and member of the band White Apple Tree. I’d show up at his front door with a handle of Jack and he’d say, “Hey, baby,” and we’d start drinking.

Sometimes we’d strip down to our boxers and jump in his pool, or sometimes we’d split a bowl, but mostly we’d just content ourselves with cigarettes in the garage with loud electronic music vibrating our chairs.

Play this song while drinking until you pass out on your driveway.

[Buy other shit while you wait for the Peach Hat EP to come out.]

Handsome smile, wearing handsome shoes

Written by

Paolo Nutini – Autumn

WINTER …these fingers grow brittle and cold and hold tightly fisted the letters you sent one week from your birthday, underlining all the truths you weren’t ready to say.

SPRING …the flowers bloomed scattering pollen while the bees carried paranoia to and fro. People, scared and impressionable, asking questions they didn’t want answers to.

SUMMER …the beach called home and asked if we were in. It hadn’t seen us in a while. Salt in the air and water in the lungs, drowning in nonchalance.

AUTUMN …the leaves fell steadily in a stream from their branches. Your phone was unhooked. Strips of your torn summer frock sat on the dresser.

[These Streets.]