Jane's Addiction were lit to pop, digging something up with pleasure and pain in the dangerous decadence of this laughing larcenous lollapalooza. After releasing their live eponymous debut on local XXX Records in 1987, they signed with Warner Brothers for the controversial 'Nothing's Shocking'. Their next album 'Ritual de lo Habitual' was recorded at Track Record in North Hollywood, California with Perry Farrell on lead vocals, Dave Navarro on guitar, Eric Avery on bass, and Stephen Perkins on drums, with Charlie Bisharat on violin ("Of Course") and electric violin ("Then She Did..."), Ronnie S. Champagne adding bass ("Of Course"); John Philip Shenale on strings ("Then She Did..."), and Geoff Stradling on piano ("Obvious," "Then She Did..."). Once again, Perry Farrell did the artwork and shared production credit with Dave Jerden. Tensions ran high in the studio as Farrell and Avery were feuding over Avery's advances toward Farrell's (classic) girlfriend Casey Niccoli. There were a lot of drugs muddying the process and Farrell and Niccoli's friend Xiola Blue (who inspired the song "Three Days") overdosed after visiting for a long weekend.
'Ritual de lo Habitual' full album: https://www.youtube.com/watch?v=5VR7dGxgptw All songs written and composed by Perry Farrell, Dave Navarro, Eric Avery and Stephen Perkins. 1."Stop!" 4:14 2."No One's Leaving" 3:01 3."Ain't No Right" 3:34 4."Obvious" 5:55 5."Been Caught Stealing" 3:34 6."Three Days" 10:48 7."Then She Did..." 8:18 8."Of Course" 7:02 9."Classic Girl" 5:07
'Illinois' peaked at number one hundred and twenty-one on the Billboard 200 album chart, and went to number eighty-six in Australia, eighty in the Netherlands, thirty-four in Norway, four on the US independent album chart and number one on the Billboard heatseekers album chart. The album was a critical favorite that year and won the 2005 New Pantheon Award. Stevens says: "It's all based in settings in Illinois, and uses Illinois as a context, but really, the record is much broader. It's more about universal things. It's about my imagination, it's about my understanding of industrialism in the Midwest, it's about the Midwest in general, it's about human beings, you know... It's about much bigger things. Illinois is just kind of a veneer over the fabric of the record. That's why the cover art is so silly. It's sort of meant immediately to disarm you, and let you know that it's just this big silly advertisement. At first glance, it's really just a pun." http://music.sufjan.com/ lyrics: http://genius.com/albums/Sufjan-stevens/Illinois "Chicago" https://www.youtube.com/watch?v=KFrG6S0GnhU
All songs written and composed by Sufjan Stevens and published by New Jerusalem Music, ASCAP. 1. "Concerning the UFO Sighting Near Highland, Illinois": 0:00 2. "The Black Hawk War" 2:09 3. "Come On! Feel the Illinoise!": 4:23 4. "John Wayne Gacy Jr.": 11:08 5. "Jacksonville": 14:27 6. "A Short Reprise for Mary Todd, Who Went Insane, but for Very Good Reasons": 19:51 7. "Decatur, or, Round of Applause for Your Stepmother!": 20:38 8. "One Last 'Whoo-Hoo!' for the Pullman": 23:41 9. "Chicago": 23:47 10. "Casimir Pulaski Day": 29:51 11. "To the Workers of the Rock River Valley Region, I Have an Idea Concerning Your Predicament": 35:45 12. "The Man of Metropolis Steals Our Hearts": 37:25 13. "Prairie Fire That Wanders About": 43:42 14. "A Conjunction of Drones Simulating the Way in Which Sufjan Stevens Has an Existential Crisis in the Great Godfrey Maze": 45:53 15. "The Predatory Wasp of the Palisades Is Out to Get Us!": 46:12 16. "They Are Night Zombies!! They Are Neighbors!! They Have Come Back from the Dead!! Ahhhh!": 51:35 17. "Let's Hear That String Part Again, Because I Don't Think They Heard It All the Way Out in Bushnell": 56:44 18. "In This Temple as in the Hearts of Man for Whom He Saved the Earth": 57:24 19. "The Seer's Tower": 57:59 20. "The Tallest Man, the Broadest Shoulders": 1:01:53 21. "Riffs and Variations on a Single Note for Jelly Roll, Earl Hines, Louis Armstrong, Baby Dodds, and the King of Swing, to Name a Few": 1:08:56 22. "Out of Egypt, into the Great Laugh of Mankind, and I Shake the Dirt from My Sandals as I Run": 1:09:42
When the day is done and the ball has spun in the umpires pocket away And all remains in the groundsman's pains for the rest of time and a day There'll be one mad dog and his master, pushing for four with the spin On a dusty pitch with two pounds six of willow wood in the sun. When an old cricketer leaves the crease, you never know whether he's gone If sometimes you're catching a fleeting glimpse of a twelfth man at silly Mid-on And it could be Geoff and it could be John with a new ball sting in his tail And it could be me and it could be thee and it could be the sting in the ale, sting in the ale. When an old cricketer leaves the crease, well you never know whether he's gone If sometimes you're catching a fleeting glimpse of a twelfth man at silly Mid-on And it could be Geoff and it could be John with a new ball sting in his tail And it could be me and it could be thee and it could be the sting in the ale, sting in the ale. When the moment comes and the gathering stands and the clock turns back to reflect On the years of grace as those footsteps trace for the last time out of the act Well this way of life's recollection, the hallowed strip in the haze The fabled men and the noonday sun are much more than just yarns of their days. When an old cricketer leaves the crease, well you never know whether he's gone If sometimes you're catching a fleeting glimpse of a twelfth man at silly Mid-on And it could be Geoff and it could be John with a new ball sting in his tail And it could be me and it could be thee and it could be the sting in the ale, the sting in the ale. When an old cricketer leaves the crease, well you never know whether he's gone If sometimes you're catching a fleeting glimpse of a twelfth man at silly Mid-on And it could be Geoff and it could be John with a new ball sting in his tail And it could be me and it could be thee. 'HQ' full album:
Tim Buckley sought the truth of life in stolen lost moments and found blind belief in a blue melody (such a blue you've never seen). After a trio of albums on Elektra Records ('Tim Buckley', 'Goodbye and Hello', and 'Happy Sad'), Buckley signed with the Straight Records companion label to Bizarre Records set up by Frank Zappa and Herb Cohen. During this time, Buckley was working on material that would comprise three different albums ('Blue Afternoon', 'Lorca', and 'Starsailor'). 'Blue Afternoon' revisits the folk jazz sound that began with 'Happy Sad'. He had already moved on to more bizarre musical territory on 'Lorca', which had been completed for Elektra before he began his Straight debut. Cohen was concerned that Buckley's new direction might alienate fans and asked him to record something more like his previous work. For the first time, Buckley produced 'Blue Afternoon' himself, utilizing most of the same musicians as'Happy Sad'.'Blue Afternoon' features Tim Buckley on 12 string guitar and vocals; Lee Underwood on guitar and piano; David Friedman on vibes; John Miller on acoustic and electric bass; Jimmy Madison on drums; and Carter C.C. Collins on congas.
Well I was born a blue melody A little song my mama sang to me It was a blue melody Such a blue You've never seen There ain't no wealth That can buy my pride There ain't no pain That can cleanse my soul No just a blue melody Sailing far away from me One summer mornin' I was raised But I don't know One summer morning I was left But I don't know One summer morning So all alone Late in ev'ning I'll sing in your dreaming Down from the mountain Along with the breezes So close inside Love grew smiles So if you hear that blue melody Won't you please send it home to me It's just my Blue melody Callin' far away to me 'Blue Afternoon' full album:
