Lazy Sunday afternoon, too hot to go outside, what better to do than make GIFs?
Musical Tuesday – A Song for Europe
Well, today was the Melbourne Cup, the horse race that both proverbially and allegedly stops a nation. Woohoo.
I’ve never really been a fan of the Cup. I’m a contrarian by nature – if someone tells me that everyone does something I’ll tend not to do it, specifically to be a counter-example – so I’ve always reacted to being told that the Cup stops a nation by saying “Well it doesn’t stop me!” and ignoring it. I’m also not big on horse racing because of the animal welfare issues. I’m not a member of PETA or anything, and I eat plenty of meat, but racing somehow seems to be pushing our treatment of animals a bit far. I’ve also got a streak of puritanism deep in my soul, which pops up at unexpected moments to condemn things like gambling as wicked – so Melbourne Cup day has never held much attraction for me.
Of course working in an office environment makes such iconoclasm difficult, and heading off to a pub to watch the race at least provided a free lunch and 90 minutes or so of not-working. So I went along with it. I was also talked into placing a $2 bet, which I put down on Red Cadeux – the horse suggested by Diesel the Psychic Echidna, mostly just for a laugh.
As anyone who gives a crap about the race would know, Red Cadeux came in second, so I ended up winning $10. Not bad at all for advice from a monotreme, not bad at all.
Anyway, in honour of the event what song could I choose for today but My Lovely Horse from classic comedy series Father Ted?
For those unfamiliar with the show (have you been living under a rock for the last twenty years?) it follows the chaotic lives of a trio of notably unholy Catholic Priests exiled to a small island off the coast of Ireland – the venal Father Ted, the idiotic Father Dougal and the frankly diabolical Father Jack. In the episode A Song for Europe Ted and Dougal decide to enter the Eurosong music contest (an extremely thinly veiled parody of Eurovision) and come up with a ridiculous dirge about ‘a lovely horse’. They later improve it by stealing a tune from another song, but end up representing Ireland in Eurosong with the original because the country is desperate to lose and avoid the cost of hosting it again next year.
In real life the song was written by Neil Hannon from the Divine Comedy, and the band actually released it as B-Side in 1999.
In any case, here is the song as presented in the episode (the seemingly random inclusion of swimming sequences and ping pong is because it’s a parody of the video for That’s What Friends Are For by the Swarbriggs).
They really need to lose that sax solo…
My second pick sticks to the Eurosong theme with the song Wolves of the Sea, which was Latvia’s Eurovision entry in 2008. But I’m not going to make you listen to the campy Latvian version, instead I’m presenting the cover by Scottish pirate-metal band Alestorm, which was released in 2009 (yes, pirate-metal is a thing).
I first heard this track in the Morley branch of Games Workshop and was rather surprised to say the least. But not as surprised as some commenter on YouTube who seem to be unable to grasp the purpose of the steel drum break in the middle. I mean, is it really that hard to figure out what they’re referencing? Really?
Anyway, that’s enough for now. The prawns I had at lunch seem to be disagreeing with me, and I’m taking an early night.
Buffalo Buffalo Buffalo Buffalo Buffalo
Jackpot! Finally got a submission read on The Shaft. It just would have been nice if they’d been sober enough to credit me ;D
For those interested, Episode 155 at 43 minutes and 48 minutes.
And here is the song that made my entry weird enough to get past the great filter that is Astragali (he still vets the submissions, right?)
Musical Tuesday – Satellites
Sad musical news over the weekend with the death of iconic composer, musician and rock poet Lou Reed. It was a foregone conclusion that I’d feature one of his songs in tribute this week, but I had to think long and hard about which one. The beautiful Perfect Day, which after one listen had me listening obsessively to RTR back in the pre-internet early 90’s in the hopes that they’d play it again so I could find out who it was by? The rocking There She Goes Again that I accidentally downloaded off a less than reputable file sharing service in the freewheeling early 2000’s while looking for the similarly titled song by the La’s, but grew to love anyway? The classic Walk on the Wildside? Something really obscure to prove my musical cred? No. In the end I decided I couldn’t do better than simply posting my favourite Lou Reed song, no matter how overplayed or cliched it may be this week, 1972’s Satellite of Love.
Thanks Lou. We won’t see your like again.
The second song I’m highlighting is another one concerning satellites by another musical magician. In his truncated life, Joe Meek inhabited the space where genius and insanity collide. But by insanity, I don’t mean entertaining whackiness – he was emotionally and psychologically unstable, moody, irritable, occasionally violent and dangerously paranoid. He was obsessed with death and hung around in graveyards trying to record ghosts, and was convinced that Buddy Holly was talking to him from beyond the grave. Yet despite this, in late 50’s and early 60’s Britain, musicians were lining up to work with him. Why? Because he was the only guy on that side of the Atlantic who could produce records that sounded like they came out of the big American recording studios.
He achieved this by combining obsession with a natural talent for electronics which allowed him to convert his rented London flat into a recording studio. All of it. Every room was riddled with wires, with microphones hanging from the ceilings, and a band who wanted to record would be broken up into the areas and corners as Meek saw fit to best record their sound. With the tracks down he’d tune and mix them on his homemade equipment – often supplementing the recording with what today would be regarded as samples – and come out with something astounding.
He was also a composer – although he couldn’t write musical notation or even sing in tune – and hired session musicians to come in and record his creations. The best known of these is the track I’m featuring today, 1962’s Telstar – inspired by the launch of the world’s first communications satellite Telstar 1 – and recorded by the Tornadoes. It sounded like nothing anyone had ever heard before and was a worldwide hit – reaching number 1 in both the UK and the US.
Sadly, things did not end well for Joe Meek. A lawsuit prevented him from receiving any royalties from Telstar, and the coming of the Beatles changed pop music fashion from lush orchestral arrangements to stripped back drums and guitars. He went into debt, fell deeper into paranoia and depression and finally in 1967 he took his own life and that of his landlady in a murder suicide. Nonetheless he left us with an incredible (and surprisingly vast) legacy of recordings that are still being explored and enjoyed to this day.
So that’s your lot. Tune in next week for more Musical Tuesday!
Pigfarts, Pigfarts Here I Come
Dreamt last night that I was sent to colonise Mars with Sarah Silverman.
Certainly worse people to share a planet with.
No, it Hasn’t
I was channel surfing last night and came across a man in a purple cape, sitting at a piano performing a mash up of Scarborough Fair and The Diva Dance from the Fifth Element.
It was not – as I initially thought – a scene from Liberace: Behind the Candelabra, but the semi-final of Australia’s Got Talent.
If that’s talent, I hope it’s not catching.
LATER: Ha! Found it! Weirdest damn thing I’ve ever seen on TV…
Squid
Now ’tis often said by those learned in the ways o’ the briny deeps that the surest way to attract the common or vulgar squid onto a line is with that that can sooth the breast of the most savage of beasts, to wit, a song. As such, as the Lucky Betty sailed leisurely out o’ Cap’n Bandy’s marina, Phil – a member in good standin’ for many years of the Quantoket Bend G&S Society – suggested we join our tongues in the ballad o’ the HMS Pinafore. This proposal however was shot down by Old Joe, who explained that if he ever claimed to be a sober man, be it even in song, the Good Lord would strike him down with a bolt o’ heavenly lightning right as where he stood. This caused us no little consternation as he were the one captainin’ our fine vessel, but he allayed our fears by explainin’ that his alcoholism was of the ‘functional’ variety, and so long as he had a steady supply of liquors spirituous there could be no firmer hand on the wheel. The problem thus dispatched we returned our attentions to matters musical, and decided after some discussion that a chorus o’ the well know duet from Lakmé would serve almost as well, and so motored out to sea with my good self taking the title role, Phil as Mallika and Benny Mousetrap keepin’ time by beatin’ his head against the port gunwale.
Our destination that fine art’noon were the Peabody Shoals off the south end of Body Island, a well known place o’ habitat for the speckled squid o’ the delta coast. While confusin’ and treacherous for large vessels, and the site o’ many a piteous shipwreckin’ in times o’ yore, a craft of shallow draft such as our own would be in little danger, and Benny’s innate sense o’ direction, honed by many years o’ rollin the streets of the Cable District, would see us in good stead when avoidin’ the few banks and reefs that could pose any kind o’ serious threat. However we were no more than halfway to the shoals when a sudden change in the winds precipitated a dampening o’ the atmosphere and the western horizon changed all pale and hazy – a sign o’ certain assurance that the mists would soon be upon us.
Unwillin’ to abandon our expedition but equally reluctant to chance the shoals under conditions so increasingly hazardous Old Joe suggested we drop anchor where we floated and begin our squid huntin’. All agreed as to the prudence o’ this course o’ action so we rolled out the rusty anchor chain, set out the ridin’ lights – red, green and yellow to inform any passin’ vessel exactly what it was we was about – and optimistically hoisted the purple squidin’ flag for luck. Benny took station in the fo’c’sle to keep an ear for approaching vessels and Phil consulted his well worn copy o’ the Recollections o’ Joan o’ Arc while Old Joe and I took our seats in the stern and dropped our lines o’er the side to await the comin’ of the squid, doin’ so just as the first bank o’ fog rolled in on us.
I tell ye it was eerie out there on the open ocean with no more’n twenty feet o’ vision in any direction and no sound but the clank o’ the chain, the slap o’ the waves and Benny’s muttered recitation o’ the Rubaiyat of Omar Khayyam – a nervous habit he’d developed stayin’ in a house o’ easy virtue o’er the west coast many years prior. I can fairly state that it would have surprised our party in no way had the legendary Great Sea Serpent, Old King Neptune and his Naiads or the Eliza Battle loomed at us out o’ the mists. The squid we had come out in earnest search of seemed similar spooked and not a nibble was felt on either o’ our lines, leading Old Joe to comment on our foolishness in settin’ sail on a day o’ the full moon so late in the year – an observation that would have been a great packet more useful back on the land before we committed ourselves to spending our time afloat on the briny deep.
I was considerin’ the wisdom of pullin’ our lines and headin’ back towards shore when a cry came from Benny up at the bow. Somethin’, he asserted, was headin’ our way at a right lick o’ speed, though with the current atmospheric conditions being as they were he couldn’t commit to say as to what it might be. Phil leapt to at the foghorn and began pumpin’ out a mournful howl while Old Joe and I braced for the expected impact, remembrin’ too late that short o’ clamping a rope betwixt his teeth Benny had no way to do similar at his perch in the fo’c’sle. I let go of the gunwale and headed fo’ward with a mind to his rescue just as the biggest wave any o’ us could recall seein’ in all our God given days slammed into the Betty, throwin’ the boat skyward and sendin’ Benny flyin’ off into the mist with a final wail concerning what was to be done with his mortal remains, assumin’ they could be located after such a woeful misadventure. The boat slammed back down, fully intact, leavin’ us bruised and sore with no sign o’ the king wave, or o’ Benny Mousetrap whose fate it now seemed was fully in the hands o’ the mighty ocean.
We did, in the end find the mortal remains o’ Benny, but that my friend is another story entirely.
Squid
Well it were about 20 years back now when me, Old Joe, Phil and Benny Moustrap decided to go out squid fishin’. We didn’t have any squid rods handy but Phil said he knew an old schooner captain’s trick (which he learned at the foot o’ his gran’pappy) where a body could take an ordinary rod and with a few quick applications o’ nails and paint fashion up the finest squid rod you e’er did see. So we hauled out a tin o’ old paint Benny had in the back o’ his shed and scrounged up a handfull o’ nails from the gutters outside Levi’s Gin Palace and before ye could say ‘Jack Whiticker’ we had a fine pair o’ rods ready to go.
Now at this point Old Joe raised the issue that there happened to be four o’ us and only two rods, which seemed quite the dilemma until Phil explained, in his usual wheezy fashion, that he never liked doin’ the catchin’ himself, and much preferred to watch, and then Benny pointed out that with him havin’ no arms or legs he wouldn’t know what to do wi’ a squid rod nobouts. So fully armed and prepared we carried ourselves down to Cap’n Bandy’s Pelagic Boat Hire to acquaint ourselves with a vessel for the catchin’ o’ squid suitable.
Now, as it happened Cap’n Bandy wasn’t around, him havin’ to rush off and take the place of another Cap’n who had made certain promises to judge the Trout contest over at Lake Chudditch and all o’ a sudden been unable to due to an outbreak of the chitlins, but his assistant Lootenant Bejtman was most helpful and led us to a fine boat o’ the sea goin’ by the name of ‘Lucky Betty’. Old Joe weren’t too keen on this at first, two o’ his wives havin’ shared the name o’ the ship and he not havin’ good memories o’ either. But we talked him round and in said process even convinced Lootenant Bejtman to give us a discount on the hire for Old Joe’s emotional pain and sufferin’, which he said was easily the best thing to come out of either set o’ nuptials. So we piled into the Betty – Benny rollin’ in off the side of the dock as was his way – and set off into the wide blue ocean in search o’ squid.
But that my friend is another story entirely.
Musical Tuesdays – Theme Edition
Wow, I’ve actually managed to make a second Musical Tuesday post. Maybe this will last a while after all!
The first song for this week is Christmas Island by Washington State natives Lake. Also known as Island Song, keen eared listeners will recognise it as the end theme from possibly the best cartoon series ever, Adventure Time with Finn and Jake.
Even more keen eared listeners will realise that it’s not quite the same song as the end theme. The Adventure Time version has a whole bunch of altered lyrics – although you don’t get to hear too much of them, as the end credits only run for a verse and a half. If you’re interested in a complete comparison you can track the full version down – think of it as a challenge!
In any case, this version of the song is a sweet, lo-fi ballad with a touch of the 50’s to it, which is A-OK by me.
The second track for this week is another TV ending theme, this one belonging to 80’s sci-fi series Max Headroom. Those too young to remember the 80’s may be unaware of Max and his career trajectory which went from Pepsi spokes-thing to star of a cyberpunk TV series, to interrupting late night Doctor Who reruns with incomprehensible rants about Chuck Swirsky. In any case, I remember the TV series as being a greatly entertaining distopian extravaganza set “20 minutes into the future”.
It would no doubt look pretty dated now, but then Cyberpunk itself is dated. It was the 1980’s idea of what the 21st century would look like (much as Steampunk is the 21st century’s idea of the 19th century’s idea of the 20th century). It got a few things right, but a whole lot more things wrong. Cybernetic limbs for instance are rare, and not terribly good. There certainly is a “net” – but it’s not an exciting virtual reality world made up of vector polygons, it’s a place where people post videos of their cats. Corporations are not – as yet – in charge of private armies of mercenaries engaging in prolonged gun battles through the city streets. Climate change has mitigated the chance of constant gloomy overcast and pounding rain, and neon signs full of Chinese and Japanese logograms are mostly limited to the areas immediately surrounding Asian restaurants.
But back to the music. This end theme apparently appeared on a only a few episodes, which meant that for years the only way I’ve had to hear it is the scratchy version I recorded straight off the TV onto an audio tape circa 1989 – which features the added bonus of an announcer talking about all the action coming up on a new episode of something called Paradise. But I recently stumbled over a copy that some kind soul has put up on YouTube. So slip on your mirrorshades and chill out to a great piece of 80’s synth that may or may not have been written by that dude from Ultravox.
Look at This!
I’m trying to cut down on posts where I simply embed a YouTube video and say “Look at this!”, but this is simply astonishing…