Lee Hazlewood - Nancy Sinatra, "Some Velvet Morning", from the NBC television special "Movin' With Nancy" in 1967.

Link

1. White Winter Hymnal - Fleet Foxes

Here's the achingly cool entry. Well sort of. They're quite hippyish really so don't quite count as achingly cool, but they are very popular at the moment. And rightly so, they're an amazing band with a beautiful album that's well worth a listen, and this song is catchy and touching. The video is beautiful too.

2. Psychosocial - Slipknot

Slipknot might not be one of the most charming bands around, but they know how to make lots of noise, and that counts for a lot in my book. Especially when twinned with some great tunes. This track is worth listening to for the introduction alone, which is aural equivalent of waterboarding. In a good way. But I'm still not getting the black hoodie, 'k?

3. Make This Work - Magistrates

Saw them at Field Day over the weekend.

What. A. Voice.

Blimey.

4. We Are Your Friends - Justice Vs. Simian

When this song came out last year, it managed to pass me by entirely. It wasn't until I saw Justice's gig at Somerset House, and everyone appeared to know this track apart from me that I started to investigate. Glad I did. Cracking.

5. Council Estate - Tricky

He's a weird one, Tricky. First he's in one of the best Bristol bands at a time when all the best bands were from Bristol. Then he released probably the most distinctive album from the mid-nineties (the laid-back, and yet face-slappingly brutal Maxinquaye) and then other than a few odds and sods and a few less than perfect albums, disappeared. And now he's 'back'. I mean, he didn't really go away, but it felt like it. Not any more.

6. Summer Wine - Nancy Sinatra & Lee Hazlewood

Yes, it's pretty cheesy. And yes, I did hear this with mykreeve at a Suzanne Vega concert, and then use Shazam on my iPhone to find out what it was. My discovery, therefore, was a tale of geekery and cheese throughout, but you have to admit, it's a pretty special song. And when summer comes back, it'll probably sound even better.

7. Love Is Noise - The Verve

A couple of seconds into this, Richard Ashcroft does a pretty passable impression of Lee from The Apprentice doing his impression of a pterodactyl. But that's not the only reason this is great. The tune's typically strong, but it's the little sample that was probably added as an afterthought that brings this whole track together and makes me think that I might not detest The Verve quite as much as I thought I did. Well, some of the time at least.

And now's where I tag some other people. But most people I know online have done it already, and only tagging a couple of people just makes me feel like I haven't got many friends. So, both of you who haven't done it already, I'm looking at you, and waiting to hear your seven songs of the moment. Go on, make me look popular :o)

Artist: Lee Hazlewood
Album: Diamonds Of Love Songs (2 CD)

Tracklist :

• The Ballad of Lucy Jordan

Knife in the Water

Red River (Overcoat 2000)

http://www.mediafire.com/?qvmyz23dyjj

Named after a Roman Polanski film, Knife in the Water are an Austin band whose music owes much to country and western, indie-pop and moodier moments of Ennio Morricone. Actually Knife's Aaron Blount and Laura Krause's mournful harmonizing reminds me of Low's Alan Sparhawk and Mimi Parkers frigid, unemotional approach to singing. Both bands also share a love of slow, lonesome tunes, but Knife in the Water lean more towards dramatic alt-country balladry.

There is little optimism in Red River's ten tracks. Songs are populated by depressed souls who seek redemption in their next score, fearful lovers paranoid about imminent betrayals and scorned women ready to murder their deceitful partner. Red River is a bummer to be sure, but its narcotic country tunes are more about detachment and apathy instead of wallowing in misery.

"Party for the People of the Open Wound" sums up Knife in the Water's lyrical point of view: "Well we went to a party on Friday night at a house on the east side of I-35
We were dizzy from the pills that the Kennedy gave
Oh but the speed wasn't fast enough to wash the blues away

We used to love ourselves what happened to us?
Now we walk like victims of mutual disgust
Here at the party for the people of the open wound if we don't look like them right now
You know we will real soon

This bitter air of regret and longing for innocence permeates each track. Well, not each track as there is a boring cover of Lee Hazlewood's "Sundown, Sundown" that sucks the life out of the original. However, the other nine tracks gently nudge you further and further down in the dumps.

download :.: zshare :.:
back to mauros vol ii : the surface of saturday night

alguien dijo algo de cómo la ciudad se cubría de sombras, cómo pasan las cosas: uno duerme hacia el alba y el alba pasa; cómo el viento pasa, y luego vuelve. la noche fue larga: alguien dijo algo, cómo la luna nos envolvía en la azotea con su blanco, y que más allá era todo idéntico. lucía dijo algo de otra ciudad, de un cuarto con velas, alguien que bailaba y alguien que miraba. empezamos a pensar que la noche no iba a acabarse nunca. alguien se dio cuenta de que la música se había acabado y alguien más dijo entonces algo de los planetas y de las estrellas: que qué pequeños eran y qué lejos estaban.

el tracklist:

1 . gustavo lamas :.: reencuentro
2 . nearly god :.: poems
3 . lee hazlewood :.: my autumn’s done come
4 . portishead :.: the rip
5 . the twilight singers :.: verti marte
6 . golden boy featuring miss kittin :.: rippin kittin
7 . ‘til tuesday :.: voices carry
8 . ultravox :.: lament
9 . clivester y la banda mauro :.: the surface of saturday night

download :.: zshare :.:
back to mauros vol ii : the surface of saturday night 

“You are seriously disturbed.” Het is een citaat uit de film ‘A Perfect Place’ waarvoor Mike Patton de muziekscore schreef. Bij nader inzien is het citaat ook toepasselijk op de muzikant. Je kan het zo gek niet bedenken of hij heeft het wel gedaan. En filmmuziek hoort daar uiteraard ook bij.

Voor alle duidelijkheid: ‘A Perfect Place’ is geen langspeelfilm. Het betreft hier een kortfilm van zo’n vijfentwintig minuten. Wie zich de special edition aanschaft, krijgt er trouwens meteen de hele film bij en dat is wel zo handig. Met de film in het achterhoofd krijgt de muziek toch wat meer diepgang.

Het is niet de bedoeling dat de plot van de film hier volledig uit de doeken gedaan wordt. Daarvoor zijn er voldoende andere bronnen. Toch is het wel leuk om te weten dat dit het soort geschifte film is dat ook van de gebroeders Coën (van ‘Fargo’ en ‘O Brother, Where Art Thou?’) had kunnen zijn. Regisseur Derrick Scocchera vist voor zijn onderwerpen en figuren duidelijk in dezelfde vijver. Het mag dan ook geen wonder heten dat hij precies bij wacko Mike Patton uitkomt om zijn film van muziek te voorzien.

En uiteraard heeft Patton zich daar met plezier in gesmeten. Nummers als de Main Title en A Dream Of Roses moeten de film in de jaren ’30 en ‘40 plaatsen, al is dat uiteraard nooit een garantie. Ze hebben een jazzy gevoel over zich dat als een soort patroon terugkeert doorheen het hele album.

Toch zit er ook meer dan voldoende experiment in de film. Het titelnummer is daarvan het beste bewijs. De synthesizer in combinatie met het gefloten deuntje en de volledig overstuurde gitaren passen volledig bij het ongemakkelijke gevoel waarmee ook de film je opzadelt. Dat geldt trouwens ook voor een nummer als Seriously Disturbed.

Wie overweegt ‘A Perfect Place’ aan te schaffen omdat hij bij Mike Patton aan Faith No More, Fantomas of meer recent Peeping Tom denkt, komt echter volkomen bedrogen uit. Ten eerste is dit filmmuziek en dus keren bepaalde thema’s steeds terug (Main Title Reprise) en ten tweede heeft dit helemaal niets te maken met Pattons andere werk. Wie wel wat ziet in jazz en vooral swing, kan hier toch zijn hartje ophalen, al dient ook hij op zijn hoede te zijn voor addertjes onder het gras.

Het is wel jammer dat de eindtune van de film, We All Make The Flowers Grow van Lee Hazlewood niet is opgenomen op de cd. Desondanks is dit een interessant hebbeding voor al wie iets heeft met Mike Patton en zijn diverse uitspattingen. Wie echter niet open staat voor experiment, kan zich dit kleinood beter ontzeggen.

Just playing, my little friends. Anyway, Lee was incredible. Run out and buy Nancy & Lee, Cowboy in Sweden, Lee Hazlewoodism: Its Cause and Cure, Requiem for an Almost Lady, Trouble Is a Lonesome Town, The Very Special World of Lee Hazlewood...hell, buy everything. It'll all be worth it because that's how awesome Mr. Hazlewood was. His music is beautiful and his lyrics can be extremely sincere and meaningful on one song and then be way hilarious and snarky the next...it's all so amazing, you don't even know. If I could do anything (and I mean anything), I'd build a time machine and go back to the 1960s just to meet up with him and hang out with him. We'd be best pals, I think (I wanted to be his very bestest friend the first time I ever heard his voice and that desire's never waned). He's one of the few people I've ever really had the desire to meet in person and talk to...and unfortunately this will never be since he passed away last year (rest in peace, my friend). But his music lives on, his love and wit (he might have actually been the funniest person ever...but I'm a close second) and charm and genius and mustache and coolness. And best of all? He was really genuine in his awesomeness and he never seemed like he was trying to be something he wasn't. He was just Barton Lee Hazlewood, the best damn person on the planet. We should all aspire to such greatness.

And here, watch this. You'll see what I mean:

And this, too: http://www.youtube.com/watch?v=Sb-SVPJM4L4

Aw hell, watch all his other videos while you're at it. They'll keep you entertained (unless you suck...always a possibility, I suppose).

On to the photos...um, these were a tough group to pick. I can't believe I didn't mention it in my miniskirt post, but the whole miniskirt and boots look is tough as hell to pull off without looking like a mega slut. I was trying to get a picture of me sitting down in boots and a miniskirt for the longest time (so I could pair it with the terribly clever-in my eyes-caption "These boots were made for sittin'") and it took me fucking forever to take one that was decent enough to put out there for public consumption. Like I'd be sitting on the couch, all normally, wearing my miniskirt and conservative flat boots, and Eric would be taking pictures and he'd stop and look at them and be like, "Uhh...look less slutty," and I'd be like, "What? I'm just sitting here," and he'd be like, "Yeah...I don't think you can use these," and I'd go grab the camera and...holy shit. Me sitting around in a short skirt and boots looks like soft-core porn for some reason. I don't know, I tend to pose too much in pictures anyhow (the camera points my direction and I twist and turn and tilt my head and stick stuff out...and damn, I'd give anything just to take a normal picture), and that coupled with the possibility of my underwear peaking out at any second isn't a good combination. So I have hundreds of pictures of me in boots that are pretty useless. The photo I ultimately ended up using for the "sittin'" caption is one of me on the floor in leggings and a shirtdress and it almost looks slutty (how does that happen?! I'm basically wearing a long shirt with pants!), but I think it's resting on the side of semi-decency, so I'll let it slide.

In closing, the lovely Nancy Sinatra made it work without looking trashy...so here's hoping I do too.

Arrivé ce matin par la poste. Cherché et longtemps attendu. La pochette est fabuleuse, les notes de pochette sont signées par Lee Hazlewood, qui a aussi produit l'ensemble, et la musique est juste splendide, n'a rien de triste, tout d'envoûtant et de joliment revigorant. J'adore les coups d'harmonica, qui semblent appeler de loin la guitare et le chant. La version de No Regrets est très belle, donne de la chanson une interprétation différente de celle de Scott Walker ou même de celle de Lee Hazlewood (sur l'album The Cowboy and the lady). De la country pour cowboys des années 70, qui évoque en creux les albums de Lee Hazlewood, mais sans doute en moins désabusé. La face B est la meilleure des deux, on y entend même Lee Hazlewood chanter en bout de course, sur le dernier morceau.

Grasduinen bij De Slegte is één van mijn favoriete bezigheden. Ik kom er nooit buiten met minder dan drie nieuwe aanwinsten. Waarvan de meeste na in supersneltempo diagonaal gelezen te hebben en razend interessant bevonden te zijn met spijt in mijn boekenkast belanden "voor wanneer ik eens tijd zal hebben".

Omdat ik toch ook eens de voldoening wil kennen van een boek écht uitgelezen te hebben, koop ik naast de grote literaire werken, de dikke kleppers en de "kijk/kunstboeken" ook regelmatig iets waarvan ik denk, dat heb ik zo uit. Zo stootte ik gisteren op "De naald erin!". Noch nooit iets van gehoord en dat het bij De Slegte staat zal waarschijnlijk ook betekenen dat het niet erg goed verkocht heeft. Een uitgave van 2003. Een bundeling van columns die eerder verschenen zijn in het muziekblad "Heaven".

Maar kijk, ik heb het al uit. En het is leuk, interessant en onderhoudend. Aan elke plaat hang Schoorl een verhaal en tegelijk een treffende "beschrijving" van de muziek, met woorden die ik er nooit voor vind . Perfect luchtig leesvoer om bij te ontspannen, te glimlachen, te grinniken, te knikken. Nostalgisch, zeker voor mensen die met muziek en *heel veel* vinylplaten opgegroeid zijn (in de kelder van mijn ouders zitten er nog pareltjes van in de jaren vijftig). Ze lagen bij ons op de keukentafel tussen onze dagelijkse boterham.

Goed dat ik dit kocht. De vinyl van de door mij verwaarloosde en vergeten Lee ligt al voor de tweede dag op mijn draaitafel. Grandioos.

boekentip 05/1

5. Adam Green - Jessica

Der Adam, unser aller Lieblingsamerikaner. Dem fällt halt auch nichts ein. Und darum singt er über Jessica Simpson. Das ist wirklich zu einfach, da kann man dann tatsächlich nicht mehr von Originalität reden.

4. Angelika Express - Teenage Fanclub Girl

Teenage Fanclub sind auch so Helden des Undergrounds. Ich kann ihnen allerdings nicht so viel abgewinnen, wenn man mal von Your Love Is The Place Where I Come From absieht. Egal, auf jeden Fall meinten die Jungs von Angelika Express - wahrscheinlich die einzige Kölner Band neben BAP, die keine Karnevalslieder macht - sich an diesen Erfolg ranhängen zu müssen und haben ein Lied über eine Fanin besagter Gruppe gesungen. Gemeines Plagiat das, darum geht es ab in die Liste!

Hinterlegt bei rtc.org

3. Bela B. - Lee Hazlewood und das erste Lied des Tages

Bela B. ist auch so ein Felsenheimer; nicht nur, dass er sich schmierig an Lee Hazlewood-Fans heranwirft, nein, er überedet den armen Mann sogar zu einem Duet. So geht es natürlich nicht - nur weil man Drummer bei einer der erfolgreichsten Bands Deutschlands ist, kann man sich trotzdem nicht alles erlauben. Ab auf den dritten Platz.

2. CSS - Let's Make Love And Listen To Death From Above

In der dritten Welt ist es ja eh nicht so weit her mit Urheberechten und Schutz von Eigentum. Kein Wunder also, dass CSS (Cansei de ser sexy - etwa: müde davon, sexy zu sein) Death From Above 1979 einfach den Namen für diesen Titel stehlen...

1. LCD Soundsystem - Daft Punk Is Playing At My House

Der Klassiker - denn wer würde LCD Soundsystem hören, wenn nicht Daft Punk in James Murphys Haus gespielt hätten? Ganz dreister Versuch, vom Erfolg anderer zu profitieren und deswegen der verdiente Platz Eins!

 

Lee Hazlewood sings:

"Some velvet morning when I'm straight,
I'm gonna open up your gate,
And maybe tell you 'bout Phaedra,
and how she gave me life,
and how she made it in,
Some velvet morning when I'm straight."

Nancy Sinatra sings:

"Flowers growing on the hill,
Dragonflies and daffodils,
Learn from us, very much,
Look at us, but do not touch,
Phaedra is my name."

This is what's been wowing me on my Nano recently.

(If clip doesn't work, try this LINK.)

The video is a little hilarious, but then so's the song, in all its epic pomp. Just GO WITH IT. Lee H. rides a very long horse with very short legs across Californian beachfront property out of PLANET OF THE APES and THE TERROR, while Nancy S. attempts to flatten the song's soaring psychedelic poetry with her very presence, yet she's evolved beyond the odd troll glimpsed in Corman's THE WILD ANGELS and can now actually WORK IT, milking the camera until it begs for time out.

*

Nancy's moist cavern is the same one seen in THE USUAL SUSPECTS, I think, and probably about a thousand other movies.

*

If anyone knows where I can get Jules Dassin's FEDRA / PHAEDRA, I'm seriously keen to see it.

Today it's the birthday of rock and blues singer Janis Joplin (1943 - 1970). She was the first big female rock star. In the sixties she mesmerized the rock audiences with a voice that was raw and tender at the same time. Unfortunately, her drug abuse killed her way too early.

But let's not mourn. Let's watch this incredible performance of hers in Germany from 1969 instead. Pay attention to when Janis invites the audience on stage – she really tries hard to make the Germans dance. But to no avail.

Then I suggest you watch the Dick Cavett Interview. Janis complains about the stiff European audience: “Nobody rocks over there, (...) they don't get down”. You can catch a glimpse of the real Janis, not the “rock star”. She doesn't want to be called a star:  “Call me a singer” she tells Cavett. In this interview she's sensitive, humorous, intelligent and a little bit shy.

Before we finish, I'd like to supply you with a little bit of trivia: Janis Joplin was born in Port Arthur, Texas. Interestingly this is the same place, where Lee Hazlewood (1929 - 2007) spent some of his teenage years. Hazlewood was a singer, songwriter and producer. He wrote and produced the Nancy Sinatra classic “These Boots Are Made For Walkin'” and recorded some duets with Nancy Sinatra, too.

In 2004 Nancy Sinatra and Lee Hazlewood (1929–2007) released the great CD “Nancy & Lee 3”. Only problem was, nobody noticed it. It seems, that everything was done not to promote it. It was only released in Australia, there was no international distribution. The cover art work is amateurish, but the music is excellent. At Amazon you have to pay at least $47 to get a copy (a while ago it even cost $99). Not bad for a four year old CD.

“Nancy & Lee 3” was recorded in Nashville. It was co-produced and arranged by Billy Strange. He has worked a lot together with Sinatra and Hazlewood in the sixties and seventies. His arrangements made songs like “These Boots Are Made For Walkin’”, “Some Velvet Morning” and “Summer Wine” unforgettable. And you can hear Billy Strange’s guitar on Bang, Bang (My Baby Shot Me Down).

Of the thirteen songs on “Nancy & Lee 3”, twelve are Nancy Sinatra and Lee Hazlewood duets, one song is a Nancy Sinatra solo. Most of the songs are carefully chosen old and new covers, only a few songs are written by Lee Hazlewood.

“Goin’ Down Rockin’” is a Tony Joe White song, “Texas Blue Moon” was written by Texan singer/songwriter Shelley King, “Don’t Let Go” is a Rhythm and Blues classics by Jesse Stone (who also wrote “Shake Rattle and Roll” and “Flip Flop and Fly” for Big Joe Turner). And there’s a nice version of “Save The Last Dance For Me”.

Neatly interwoven into these covers are songs that Lee wrote, like “Strangers, Lovers, Friends”, “Loving You Loving Me”, and “Gypsies And Indians”. The tongue-in-cheek “Is Makin’ A Little Love Out Of The Question” – a song written by Lee Hazlewood and his old friend Tommy Parsons – shows very well the Sinatra-Hazlewood magic, you can feel how they enjoy singing with each other. Another highlight is “She Won’t”, co-written by Duane Eddy. He plays his famous “twanging” guitar on it. Duane Eddy and Lee Hazlewood have known each other since 1954. Lee produced Duane, wrote for him and helped him launch his career.

Together with the albums “Nancy & Lee” (1968) and “Nancy & Lee – Again” (1971) “Nancy & Lee 3” forms a trilogy of timeless music by two great singers. Their music is a wonderful hybrid of Pop, Country, Folk, Novelty, Rhythm And Blues, and Rock. It's hard to categorize – it's unique.

Related link

• Guitarist Billy Strange Talks About Nancy Sinatra’s ‘Bang Bang’

Nancy Sinatra's «These Boots Are Made For Walkin'» starts with the most famous bass sliding sound that has ever been recorded in pop music.

The song was arranged by Billy Strange and produced by Lee Hazlewood, who also wrote it. The simple, catchy, and ingenious slide was played on string bass by Chuck Berghofer (sometimes you find his name written «Berghoffer»). There's also an electric bass on «Boots», played by Carol Kaye, that starts after the opening.

Chuck Berghofer (born 1937) is one of the many jazz musicians who help with their skill to make pop and rock records sound good. In the jazz world Chuck Berghofer played with pianist Pete Jolly and drummer Shelly Manne among others. In the sixties he started playing on countless pop and rock records that were produced in Los Angeles. He kept playing jazz besides his studio work and is still active.

Here is a small sample of artists he played with during his many-sided and at least forty years long recording career as a string and electric bassist: Ella Fitzgerald, Howard Roberts, Merle Haggard, Joni Mitchell, The Beach Boys, Barry Manilow, Jody Miller, Elvis, Frank Zappa, Diane Krall, Michael Bublé, Christina Aguilera, Mary J. Blige, Dean Martin and many others.

See also: Poem For A Bass Player and Nancy Sinatra & Lee Hazlewood: The Forgotten CD

To most people Lee Hazlewood will always be the one who wrote and produced “These Boots Are Made For Walking” for Nancy Sinatra and sang timeless duets such as “Some Velvet Morning» and «Summer Wine” with her.

But Lee Hazlewood was not just Nancy Sinatra's sidekick. He had a career before and after he worked with Nancy. Before Lee Hazlewood met Nancy Sinatra, he had made a lot of money as a producer and songwriter for Duane Eddy and others. From time to time he released his own records with mostly self-penned songs, but he wasn't very successful. After his successful Sinatra stint that lasted from 1966 until 1968 he again started releasing his own records. But they mostly went unnoticed by the public. Lee Hazlewood's last record was released in 2006.

On “Strung Out On Something New: The Reprise Recordings” Rhino-Handmade reissued a limited edition of hard to find material that has been out of print for a long time. The two disc set consists mainly of songs from the Reprise LPs “The N.S.V.I.P.s” (Not So Very Important People)» (1965), “Friday's Child” (1965) and “Love And Other Crimes” (1968). The collection gives a good impression of Hazlewood's songwriting craft. He definitively knew how to tell a story. His lyrics are full of wit and melancholy.

“The N.S.V.I.P.s (Not So Very Important People)” has a strong Country and Folk flavor. Lee introduces every song with a short story, and he's accompanied by acoustic guitars and string bass. “Friday's Child” (also released as “Houston”) and “Love And Other Crimes” blend Country with a little bit of Blues and Folk-Rock.

Included in the collection are also some weaker songs that he produced and wrote for the teenage-market.

See also: Nancy Sinatra & Lee Hazlewood: The Forgotten CD

Belíssimo tributo ao grande Lee Hazlewood, mais conhecido por seu trabalho com a Nancy Sinatra no final dos anos 60 e começo dos 70. Destaque para as versões de Come On Home To Me da norueguesa Madrugada, A Cheat por Jarvis Cocker e My Autumn´s Done Come, pela Tindersticks.

Total Lee - The songs of Lee Hazlewood - 2002

HAPPY 20th BDAY ZAC EFRON...  (hopefully this age change makes Beth's crush a little less weird...) and now for some links...

According to uber-smiley orange gossip Ted Casablancas, Jake Gyllenhaal has a secret.

LA Weekly pays tribute to the somewhat overrated, and late, Lee Hazlewood.

Joe Klein opines on America's loss of global influence as China takes the lead.

The New York Times has more on the Colbert run for the White House.

Both Afflecks talk to The Washington Post about Gone Baby Gone.

The Independent (not even The Daily Mail here) decides to jump on the anti-Facebook wagon.

The Onion obviously did this two days ago but you know what, it's funny. So read it.

PopMatters kneels at the alter of salad-dressing, charity-givin' King of Men, Paul Newman.

The Booker Prize nominees are, apparently, all to be free to read on this ol' international interweb machine, according to The Times.

Slate exposes those law-breaking buggers, The Amish, and questions the future for iTunes.

Sufjan Stevens is planning a thiry-minute, seven movement piece. Praise be. (Thank you to PopCandy for that one)

Finally, the wonderful E&L hero, Cat Power, has decided on the tracklisting for 'Jukebox'.