Mick Jagger has been alive for 80 slutty slutty years!
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“Had Diamanda Galás been born 400 years ago, she would have been declared a witch. These days, she merely sings like she’s being burnt at the stake. The grimly beautiful Greek American chanteuse belongs to that elite company of divas of despair that includes Nico, Lydia Lunch and latter-day Marianne Faithfull. Unlikely as it sounds, Galás has hooked up with Led Zeppelin's John Paul Jones for this album, which matches his menacing slabs of eight-string bass to her avant-garde sensibilities and operatic ululations. The results seethe with tension and drama. “Skótoseme” (Greek for “kill me”) sees Galás’ mourning wails swept along by an Arabian drone. On the sarcastic “Do You Take This Man?”, she lashes out like a blues mama who’s been pushed too far, while the title track details a group of vengeful prostitutes gleefully plotting to murder a john. The Sporting Life is marinated in equal parts malice and black humour.”
/ From my review of The Sporting Life for the British music magazine Vox, 1994 /
“John Paul Jones and Diamanda Galás crumble the little gingerbread house of rock illusions with their collaborative album, The Sporting Life, detonating all the overplayed crap we’ve become accustomed to - the bland bass/drum rhythms, the singer hooting oooh baby baby, the guitar and its obligatory solo wheeze. The album opens the genre to an expanse where divisions between what is electronic and what is “natural” smear, where the instrument is only as good as its ability to scalp you …”
/ From Bomb magazine, October 1994 /
Released thirty year ago today (6 September 1994): the album The Sporting Life, a collaboration between Diamanda Galás and John Paul Jones, a true marriage made in heaven / hell. I saw the duo perform together in London on this tour. In addition to the songs cited above, I’d recommend the ballad “Tony” (on which Galás vows “I'll walk the street at night / screamin' your name …” and sounds like a bummed-out Janis Joplin) and her wild interpretation of the 60s soul classic “The Dark End of the Street.”
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Getting into Green Day after years of listening to classick rock is weird like woah Billie Joe Armstrong is younger than both of my parents
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Johnny Blaze & The Fabulous Fuego - Juke Boxxx Classicks [oldies/rock n roll] (2024)
Johnny Blaze & The Fabulous Fuego - Juke Boxxx Classicks [oldies/rock n’ roll] (2024)
https://www.youtube.com/watch?v=VGZoOkI6sgk
Submitted June 15, 2024 at 08:15PM by Legitimate-Guess-642 https://ift.tt/5n0f39s
via /r/Music
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are we gonna talk about this or-
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A playlist for a Party Poison (Danger Days/The True Lives of The Fabulous Killjoys) with rock and country songs about the desert, gunfights, and riding around in one's car.
Tracklist:
Charley Crockett - Paint It Blue
Jake Owen - Best Thing Since Backroads
Queens of the Stone Age - Mexicola
Brantley Gilbert - Take It Outside
Johnny Cash - Devil's Right Hand
Whiskey Myers - John Wayne
Bon Jovi - Wanted Dead Or Alive
Starcrawler - Roadkill
You can listen to it here.
Mod Haze (🧨Tate | 🤝Samuel passive influence🤝)
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HopeSandoval
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Janick🎸 Dave🎸and Adrian 🔝🔝🔝🎶🎵🤘
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Cutie patootie
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To commemorate the release of the excellent new documentary Scala!!! Or the Incredibly Strange Rise and Fall of the World's Wildest Cinema and How It Influenced a Mixed-up Generation of Weirdos and Misfits, the British Film Institute is holding Scala: Sex, Drugs and Rock and Roll Cinema, a season of films associated with London’s notorious, much-missed repertory cinema. Reader, I was one of the mixed-up generation of misfits warped by the Scala at an impressionable age. (I moved to London just in time to experience its final year or so; I remember feeling bereft when it closed). The first double bill I ever saw there was within a month or two of arriving: Girl on a Motorcycle / The Wild Angels (in other words, Marianne Faithfull and Nancy Sinatra as black leather-clad biker mamas). This was when Kings Cross was still a genuinely dangerous grungy red-light district / junkie central (just walking from the tube station to the cinema felt like risking your life). From there, I plunged into essential underground classicks by the likes of John Waters, Russ Meyer, Kenneth Anger, Andy Warhol, Richard Kern and Bruce LaBruce. But for me, the film synonymous with the Scala will always be Thundercrack! (1975). It was a blast to revisit it on Sunday afternoon with friends. In this triple X sensual and depraved oddity written by George Kuchar and directed by Curt McDowell, a motley crew of freaky outsiders seek shelter at an isolated old dark house one rain-lashed night. The house in question is called Prairie Blossom and its chatelaine is the eccentric, drunk, reclusive and deeply horny Mrs. Gert Hammond, a Blanche DuBois-type wearing Anna Magnani’s black slip. If you’ve never experienced Thundercrack!, anticipate hardcore sex scenes interspersed with verbose faux Tennessee Williams dialogue (“Take me away from all this! I’ve got money, a car and a body – and they’re all yours!”). You get a measure of Thundercrack! immediately when Gert vomits into a toilet, her wig falls into the bowl, and she simply slaps it back onto her head to answer the front door. (“Who’s there that speaks to me in the voice of a woman? It’s been years since those doors felt the touch of a human knuckle!”). As Gert, the remarkable Marion Eaton’s gutsy and committed performance deserves to be proclaimed alongside Divine’s in Pink Flamingos or Female Trouble in the gutter movie pantheon.
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Tom Petty and the Heartbreakers Limited Edition T-Shirt
Order now: https://altosaxo.net/collections/rock-tees-women/products/tom-petty-t-shirt-ladies
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