Diamond Dogs – Let’s take a walk through a cruel, romantic and feral world. #MusicisLife #TedTocksCovers #DavidBowie

Allow me to introduce you to yet another fascinating David Bowie persona that made a brief appearance about 50 years ago and left quite an impression.

In short, Halloween Jack is a real cool cat.

He lives on the top of ‘Manhattan Chase’ which is a clever little twist on the well-known New York City landmark; One Chase Manhattan Plaza.

On this day in 1974, David Bowie released ‘Diamond Dogs’. Like every truly great artist this recording represented a progression in Bowie’s career. The Halloween Jack character and the material presented on ‘Diamond Dogs’ were both an evolution of David Bowie’s three previous albums. Perhaps most significantly, the character rose from the ashes of the ‘Ziggy Stardust’ era. That is one difficult act to follow. Yet he did. Not only that, but ‘Diamond Dogs’ was also the first album since ‘David Bowie’ not to include guitarist, Mick Ronson. In order to balance that loss, David Bowie reunited with the multi-talented, Tony Visconti. In hindsight, ‘Diamond Dogs’ is considered the final album of his glam rock phase before he entered the increasingly experimental funk and soul period which began with ‘Young Americans’ one year later.

Looking back at the salient ‘Changes’ that seem to define the David Bowie ascension to legend status, they seem to go well beyond the characters he portrayed. It is here that that the musical style that accompanied his transformation enhance the material. It becomes about substance and with ‘Diamond Dogs’, both the album and the song, there is a raw Rolling Stones influence.

Enjoy this live version from a show soon after the release of ‘Diamond Dogs’ and you will detect the Stones style.

Everything was distilled to the lowest common denominator and cleverly presented in a post- apocalyptic or zombie land scene.

Lyrically speaking it goes well beyond. ‘Diamond Dog’ begins with ‘Future Legend’ which was famously influenced by William S. Burroughs. As the curtain rises, this poetry depicts the surreal scene which remains etched on the listener’s mind throughout the album.

And in the death
As the last few corpses lay rotting on the slimy thoroughfare
The shutters lifted an inch in temperance building, high on Poacher’s Hill
And red mutant eyes gazed down on Hunger City
No more big wheels
Fleas the size of rats sucked on rats the size of cats
And ten thousand peoploids split into small tribes
Coveting the highest of the sterile skyscrapers
Like packs of dogs assaulting the glass fronts of Love-Me Avenue
Ripping and re-wrapping mink and shiny silver fox, now legwarmers
Family badge of sapphire and cracked emerald
Any day now, the year of the Diamond Dogs
“This ain’t rock and roll! This is genocide!”

We are literally crawling through the alley with David Bowie and with each step we understand;

This ain’t rock ‘n’ roll, this is genocide!

Joining us for the journey through zombie land are the ‘Diamond Dogs’, but don’t get too comfortable because one thing is definite.

You are not protected.

Read on…

As they pulled you out of the oxygen tent
You asked for the latest party
With your silicone hump and your ten inch stump
Dressed like a priest you was
Tod Browning’s Freak you was
Crawling down the alley on your hands and knee
I’m sure you’re not protected, for it’s plain to see
The Diamond Dogs are poachers and they hide behind trees
Hunt you to the ground they will, mannequins with kill appeal

(Will they come?) I’ll keep a friend serene
(Will they come?) Oh baby, come on to me
(Will they come?) Well, she’s come, been and gone
Come out of the garden, baby
You’ll catch your death in the fog
Young girl, they call them the Diamond Dogs
Young girl, they call them the Diamond Dogs

The Halloween Jack is a real cool cat
And he lives on top of Manhattan Chase
The elevator’s broke, so he slides down a rope
Onto the street below, oh Tarzan, go man go
Meet his little hussy with his ghost town approach
Her face is sans feature, but she wears a Dali brooch
Sweetly reminiscent, something mother used to bake
Wrecked up and paralysed, Diamond Dogs are stabilised

(Will they come?) I’ll keep a friend serene
(Will they come?) Oh baby, come on to me
(Will they come?) Well, she’s come, been and gone
Come out of the garden, baby
You’ll catch your death in the fog
Young girl, they call them the Diamond Dogs
Young girl, they call them the Diamond Dogs

(Oh-oh-ooh) call them the Diamond Dogs
(Oh-oh-ooh) call them the Diamond Dogs
Oh, hoo!
Ah ooh!

In the year of the scavenger, the season of the bitch
Sashay on the boardwalk, scurry to the ditch
Just another future song, lonely little kitsch
(There’s gonna be sorrow) try and wake up tomorrow

(Will they come?) I’ll keep a friend serene
(Will they come?) Oh baby, come on to me
(Will they come?) Well, she’s come, been and gone
Come out of the garden, baby
You’ll catch your death in the fog
Young girl, they call them the Diamond Dogs
Young girl, they call them the Diamond Dogs

Oh-oh-ooh, call them the Diamond Dogs
Oh-oh-ooh, call them the Diamond Dogs
Bow-wow, woof woof, bow-wow, wow
Call them the Diamond Dogs
Dogs!
Call them the Diamond Dogs, call them, they call them
Call them the Diamond Dogs, call them, call them, ooh hoo!
Call them the Diamond Dogs
Keep cool, Diamond Dogs rule, OK
Hey! Hey! Hey! Hey!
(Beware of the Diamond Dogs)
(Beware of the Diamond Dogs)
(Beware of the Diamond Dogs)
(Beware of the Diamond Dogs)”

This is why, fifty years later it is still held up for its influence on the punk scene, and this is likely where the significance lies.

While reading through a series of well written commentaries related to ‘Diamond Dogs’ the assessment by C.M Crockford in PunkNews.org really stood out.

As he later noted it was extremely influential on the British punk scene in sound and scope. Bowie’s violent, amateurishly scraping guitar playing here would be echoed in the late-70’s post-punk bands and Diamond Dogs’ concept of street gangs roaming London was echoed in the gleeful nihilism of the Sex Pistols. Notably Bowie made much of the album itself, including guitar and sax, and the musicianship here is unconventional, playful, a little off-kilter (one suspects Bowie was listening to Here Come the Warm Jets closely). Diamond Dogs is the goofy, abrasive place where punk and art-rock meet, dance a little, and depart.”

It is the closing line of Crockford’s review that really grabbed me.

When you listen to Diamond Dogs, you’re immersed in a cruel, romantic, and feral world, one that at its worst you still don’t want to leave.”

Isn’t this the world where we all live…and remain? We can see the train about to derail and the eyes of those who have predicted this fate are intently glued to the tracks.

And the zombie cult remains oblivious.

Perspective on ‘Diamond Dogs’ as a single was not always so positive; especially from the critics of the day who may have seen Bowie’s transformation as a sign of a diminishing career. How wrong they were.

Here is one example of the negative side of the mixed reviews from Roy Carr and Charles Shaar Murray of New Music Express. They speak to ‘Diamond Dogs in the context of its release as a commercial piece rather than focusing on its role in setting the album’s backdrop. It is true that ‘Diamond Dogs’ was the follow up single to ‘Rebel Rebel’ but the fact that it clocked in at six minutes and did not fare as well on the U.K. charts as some of Bowie’s predecessors is a narrow minded approach to analyzing the song’s significance.

As a potential hit single, the title track from Diamond Dogs was something of a non-event. Too long, too bleak in vision, too tough to dance to… you know the drill.”

Perhaps they were in a race to proclaim David Bowie as a ‘real cool cat’ who had seen better days?

It is interesting to note that any issue related to the length of side A of the single was somewhat balanced by the decision to release a re-recorded version of ‘Holy Holy’ as the B-side. ‘Holy Holy’ was initially written following the release of ‘The Man Who Sold the World’ and failed to chart. It was updated with the intention to be used for ‘Ziggy Stardust and the Spiders from Mars’, but was dropped from that album. It finally found a home as a companion piece to ‘Diamond Dogs’.

Sensitivity to the length of ‘Diamond Dogs’ entered into the consideration of RCA Records who released ‘Diamond Dogs’ to a shockingly abrupt 2:58 as a single in Australia. This hatchet job is borderline criminal.

At the time ‘Diamond Dogs’ may have been one of those albums that appealed to the most devout of David Bowie enthusiasts, however, after a few listens, it became an album that music fans point to as pivotal. Bowie’s massive popularity was more than enough to take the album all the way to #1 in the U.K. and #5 in the United States. 50 years later the ‘Diamond Dogs’ recording is seen as yet another example of the David Bowie vision.

To add to this complexity, it is well known that during this period David Bowie was working on several projects. In late 1973, Rolling Stone published an insightful interview with William S. Burroughs which telegraphed some of Bowie’s thought processes. Plans to create a ‘Ziggy Stardust’ musical were floated but never came to fruition, nor did an adaptation of George Orwell’s classic novel, ‘1984’. What was to be a made for TV presentation was ultimately quashed by Orwell’s widow, Sonia who owned the rights and refused Bowie, permission while she was still alive. This decision infuriated Bowie.

All was not lost, because it was Orwell’s bleak futuristic imagery that lay the groundwork for the bleak ‘Diamond Dogs’ concept. In addition to ‘Future Legend’, ‘Diamond Dogs’ and “Rebel Rebel’, here is ‘1984’ itself.

Someday they won’t let you, now you must agree
The times they are a-telling and the changing isn’t free
You’ve read it in the tea leaves, and the tracks are on TV
Beware the savage jaw of 1984

Beware the savage jaw. How ominous.

With the benefit of hindsight, it was like he had planted a garden of concepts and out of that came ‘Diamond Dogs’.

David Bowie was defiant in his resolve to share his art, one way or another.

To get a sense of David Bowie’s head space at the time, pay attention to this 1974 appearance on ‘The Dick Cavett Show’.

He is commanding and he exudes confidence.

Now compare and contrast Bowie as a performer to Bowie as an interview subject. In the clip below,  Cavett tries to gather some depth from the artist. David Bowie is initially reluctant to offer much more than a superficial connection, but he begins to open up.

I am not very academic but I glit from one thing to another.”

The word glit momentarily confuses Cavett, but Bowie quickly explains his choice of words.

Later Bowie reveals that his latest art was inspired by a combination of influences, tossing in the revelation that he ‘nicked’ the idea for the cover concept after checking out a book of art by Belgian artist, Guy Peellaert. He casually mentions that he was at Mick Jagger’s house at the time.

The takeaway here, is that David Bowie was looking for a vehicle to drive his concept and at every turn he was able to find little nuggets to ‘nick’. Little by little he was able to carve away the stone and share his creation.

Here is the interview.

When Guy Peellaert’s cover art was put on display in record shop windows some were shocked to see Bowie presented as half dog, half human. Naturally, it caused quite a stir when people noticed the exposed genitalia. It was subsequently airbrushed from the sleeve, but some made their way into circulation. Fifty years later these albums are extremely rare and quite valuable, going for up to $8000-$10,000.

Art comes in many forms. When it all comes down to it, those who present their offerings have a keen sense of their surroundings and when their work is complete, they bring their vision to our eyes and ears.

It is up to us to interpret the meaning, and ultimately to choose whether we derive pleasure from the work. Commercial acceptance is never the primary goal.

True gratification is derived from the fulfillment they feel when they call the work complete and ready for public consumption.

A new kind of ‘kitsch’ which is a word Bowie tucks away in the middle of ‘Diamond Dogs’

Kitsch is a German word for art that is garish, nostalgic, and very low-brow. For example, some people who love the aesthetics of souvenir culture think kitsch is really cool, while others think it’s commercial and abhorrent. It has been adopted into English, meaning worthless or tacky. In the end the term speaks to the perceived quality of the art.

Of course, it is always subjective and it comes down to the taste of the individual.

In his book ‘Rebel Rebel: All the songs of David Bowie’, Nicholas Pegg shared this assessment of ‘Diamond Dogs’.

They were all little Johnny Rottens and Sid Viciouses really. And, in my mind, there was no means of transport… So there were these gangs of squeaking, roller-skating, vicious hoods, with Bowie knives and furs on, and they were all skinny because they hadn’t eaten enough, and they all had funny-coloured hair. In a way, it was a precursor to the punk thing.

What Bowie is saying is, in the end some from his own audience became the ‘Diamond Dogs’. It manifested itself as punk and new wave, almost like they needed a nod of approval. Just one more example of art imitating life, and life imitating art.

Continuing with the thesis related to the half century range of David Bowie influence three relatively unique artist representing different musical genres have been selected.

First, take a listen to Duran Duran. They released ‘Diamond Dogs’ as a bonus track on the Japanese release of their 1995 album of cover songs entitled ‘Thank You’. A deeper exploration allowed me to discover this viscious panning of ‘Thank You’ by Anthony Barnes of The Independent.

Duran Duran was the one that united everyone in agreement. We put it on in the office to remind ourselves how bad it was. Sometimes these things are redeemed by some sort of kitsch or novelty value, but it didn’t even have that. It’s not funny for even a split second and not even the sort of thing that you would put on for a laugh if you were drunk.”

Kitsch…There’s that word again.

In direct contrast to this sentiment, I will share what I consider to be a quality cover of ‘Diamond Dogs’ that actually sounds a lot like Marc Bolan and T-Rex.

In 2001, Beck shared his version of ‘Diamond Dogs’ as part of the ‘Moulin Rouge Soundtrack’. He makes it his own, but the initial premise of the song lurks in the shadows.

That same year, former Guns ‘n’ Roses guitarist, Gilby Clarke released his fourth solo album called ‘Swag’. The closing track was ‘Diamond Dogs’ and it features former KISS drummer, Eric Singer.

This album signified a two-decade solo recording hiatus for Gilby Clarke who went on to co-host the popular TV show Rock Star which famously aimed to find a lead singer for their band Supernova, along with drummer Tommy Lee and bassist Jason Newsted. Due to a California band already having the name Supernova, the group was forced through a court injunction to adjust their name. They opted for Rock Star Supernova.

It’s time to move on and enjoy what promises to be a beautiful May day. Right now, it’s a little hazy.

Come out of the garden, baby
You’ll catch your death in the fog”

The ‘Diamond Dogs’ are lurking in this cruel, romantic and feral world.

May there be no sorrow.

Ted Tocks Covers – Top 3 Posts for February and a couple of bonuses. Featuring #JoniMitchell #AC/DC #Beck #GreenDay #Ratt

As we emerge from the February blahs we head into March. Once again, in this upside-down world, this unpredictable month has come in like a lamb. Who knows what’s in store?

Maybe John Belushi has some thoughts.

In terms of numbers, February was a bit of a down month for Ted Tocks Covers, but after several strong months to close out 2023, there was bound to be a slight letdown.  I suspect March will roar like a lion, because no matter what, Ted Tocks Covers has continued its ability to connect with people all over the world through music. This is a satisfying feeling, because in today’s world we straddle a strange dichotomy. Technologically speaking, we have never had a deeper potential to be connected, yet somehow, we have never been more detached or divided.

Through music we have the ability to unite through the spirit of song and the message contained within the lyrics. Oftentimes, this is where the stories begin.

A Facebook friend shared this quote by Bertrand Russell, recently and it really struck me. I wanted to share it here.

I allow myself to hope that the world will emerge from its present troubles, that it will one day learn to give the direction of its affairs, not to cruel swindlers and scoundrels, but to men possessed of wisdom and courage. I see before me a shining vision: a world where none are hungry, where few are ill, where work is pleasant and not excessive, where kindly feeling is common, and where minds released from fear create delight for eye, ear and heart. Do not say this is impossible. It is not impossible. I do not say it can be done tomorrow, but I do say that it could be done within a thousand years, if only men would bend their minds to the achievement of the kind of happiness that should be distinctive of man.“

Bertrand Russell

There is something here that relates to music and the qualities that the best songwriters bring to their creativity. So often, the lyrics reflect a degree of compassion, and empathy toward some aspect of the human condition. Many times, this portrayal of humanity presents itself in a passionate way. Filtered down, the thoughts shared come through in angry or defiant tones, because in order to inspire change some form of powerful emotion needs to be sparked.

Music has this ability and through the magic of song, words do inspire.

This is a timeless reality.

Over six years of writing and listening, in order to share this passion, Ted Tocks goal is to focus on the music and the magic. The anecdotes behind what brought these songs to our ears are endlessly fascinating, and I am happy to say the reader engagement continues to grow. This past month over 440 Ted Tocks features generated page views. That represents approximately 25% of Ted Tocks overall output.

Despite being down slightly in readership during February, Ted Tocks Covers still had over 4500 page views, which is only just short of the monthly standard set in the latter part of 2023. This equates to just shy of 4000 visitors on a monthly basis which still makes me pinch myself.

Ted Tocks Covers helps me tell a story. It begins with the music I discuss, and on occasion it flows into what is happening in my life. Here, I must repeat myself by saying that your support provides validation, because some days the readership this project enjoys is the fuel that motivates me as I enter the day…The real world, so to speak.

So often in my life music is the engine that drives the vehicle I call Ted Tocks Covers, and I continue to maintain that you, the reader, are the passenger. Thank you for coming along for the ride.

Ted Tocks Covers is ME sharing myself with others.

In February, Ted Tocks Covers was enjoyed by people in 76 countries worldwide. The highest engagement by far comes from residents of the United States. In fact, the U.S. represents over 80 percent of the readership. I am reasonably sure that Ted Tocks Covers speaks to the intelligent two thirds of that country. Put it this way. You will never read about Kid Rock or Ted Nugent on Ted Tocks Covers. Keeping it in North America, Canada resides at #2, followed by the United Kingdom, Australia and Germany.

Despite being slightly down, Ted Tocks Covers managed to maintain an average of 157 page views a day. While this is nothing huge by blogging standards, for a hobby it is quite validating. I continue to be pleased that my love of music is relatable to so many, and gradually…slowly, more and more people seem to be coming on board. Well into its seventh year, Ted Tocks Covers WordPress site has managed to build an audience of over 600 followers. Add to that another 1500 followers on various social media platforms and the numbers continue to blow my mind. From a modest hobby, to something that others seem to enjoy. It all makes me smile.

Quite often, it is music that serves to soften the most hardened among us. It definitely gives us a place to land smoothly.

As always, before I move on to the top three Ted Tocks Covers features for February, I would like to give a nod to a couple features from the past that achieved milestones this past month.

This Flight Tonight – A classic song by a folk music icon. A hard rock cover and two songs that have become linked to the riff. #MusicisLife #TedTocksCovers #JoniMitchell #Nazareth #Heart #Queen

During the month of February this classic from Joni Mitchell became just the 19^th song to surpass the 1000 page view mark. In recent days, the spotlight has shone on Joni because we are now into a third generation of artists who have been inspired by her song writing, vocal prowess and unique guitar stylings. This feature represented the first of several Joni Mitchell posts. As a neophyte listener in the ‘70s my introduction to this song came from Nazareth. This Scottish hard rock band was working their ass off, driving around the British Isles in a beat-up tour van, and time and time again, they found themselves listening to one tape as they navigated themselves from show to show. It was ‘Blue’ by Joni Mitchell. So, naturally when Nazareth was working on their ‘Loud ‘n‘ Proud’ album with Deep Purple’s Roger Glover as producer, they opted to cover ‘This Flight Tonight’. The cover went to #1 in the UK. This was one of several gateway songs to my musical exploration, and it definitely helped me to understand the power of the cover song.

(She’s Got) The Jack – A dose of AC/DC where the riffs just keep on coming #MusicisLife #TedTocksCovers #AC/DC #DaygloAbortions

This classic from AC/DC became just the 39^th song to reach the 500 page-view milestone. It goes back to 1975 and tells the tale of the band’s early partying days. From its raucous beginnings ‘(She’s Got) The Jack’ became a favourite during AC/DC’s live set and that tradition carried on from Bon Scott through to Brian Johnson. This post goes on to tell the story of how AC/DC stole the show at the SARS Festival in Toronto. It concludes with a cover by the Dayglo Abortions. The cover is great but the back story is even better, because a do-gooder police officer in Nepean, Ontario felt it was his duty to investigate the Dayglo Abortions on obscenity charges due to the artwork on a couple of album covers. One of those albums included a cover of ‘(She’s Got) The Jack’. The charges led nowhere, but it did prove one thing. The notoriety that this story generated helped the Dayglo Abortions sell more albums. When will the conservative movement learn. You can’t censor art. Just go away.

Now for this month’s top three songs.

#3.– Loser

Loser – Things are going to change. I can feel it. #MusicisLife #TedTocksCovers #Beck

It is relatively rare that the features I share late in any given month manage to make their way into the top three, but ‘Loser’ which was only posted two days ago managed to find its way. This clever bit of wordplay by Beck with the help of his producer Carl Stephenson managed to resonate with a massive audience when it was released thirty years ago. Perhaps the best thing about ‘Loser’ is the fact that it not only stands the test of time as an artistic piece, but the lyrics can easily be applied to the lowest of the low in today’s society. Sadly, those who are being targeted in ‘Loser’ are not likely to recognize. Beck’s scorn, but this is often the case. MAGAts in a trailer park. When that is the core audience for a political party, maybe, just maybe there is a problem?

#2. – Basket Case

Basket Case – I am one of those melodramatic fools, neurotic to the bone no doubt about it. #MusicisLife #TedTocksCovers

Music in the early ‘90s was entering a period of redefinition. As always, there was an evolution to the presentation. Grunge was redefining the hard rock period and thankfully phasing people out of the glam metal genre into something more authentic. If you turned the channel slightly, the sound of a new blend of new wave, punk and rock came together with bands like Green Day. This band had something to say and they did it with little pretense and a whole lot of attitude. Because of this approach, it didn’t take long for them to become a voice for a generation. A generation that felt ignored. They had an ally in Green Day. This is an ongoing theme in music. Through their art, musicians relate to their audience. When it is authentic, it can literally define an era. That is Green Day.

#1. – Round and Round

Round and Round – 1984 was the year of the Ratt. #MusicisLife #TedTocksCovers #Ratt #RyanAdams

This post took me back forty years. ‘Round and Round’ by Ratt is just a song I liked back in the ‘80s when it first hit the Q107 air waves. I didn’t know a whole lot about it, or the band, so the opportunity to write about it was a welcome undertaking. When it managed to make its way to the top post for February, I was a little surprised but somewhat pleased because evidently others hard rockers liked what Ratt was serving. What I learned? Well, members of Ratt wrote ‘Round and Round’ in a bit of a guitar circle and the playing ability shines through. When the group got to the studio, they felt strongly about the power of this song but the producer added one simple line. “You put an arrow through my heart.” That became the final hook and the song vaulted up the charts. But wait! There was one more strong connection. The dawn of the MTV era. The power of the video. Even in this space, a band needed a hook, and they found that with actor-comedian Milton Berle who starred in the video as both a husband and wife, hosting a posh dinner party. Little did he know, there was a Ratt problem upstairs, and his guests were dying to investigate. Good times! Oh…Throw in a fantastic acoustic cover by Ryan Adams, and you get everything Ted Tocks Covers requires to build a feature that will take you back four decades.

Happy listening as we move deeper into 2024.  As you listen, take some time and explore the deeper meaning of the songs you enjoy. Understand what the artist is telling you, and then explore a little bit more.

Or

Grab a book. Take time to read. Educate yourself.

We have no way of knowing where we are going if we don’t understand where we have been. Many of the leaders who are orchestrating some of the disastrous decisions that are being made presently are literally counting on the fact that most people are literally paying no attention, and have no concept of the future implications.

As a society, we need to wake up.

If you missed the features listed above the first time around, by all means enjoy them now. If you think a friend might like to spend a few minutes with some good music, please share because…

#MusicisLife

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Thank you for continuing to read Ted Tocks Covers. I will be in touch. You can count on that. There are many great stories to come in the days ahead.

This is all part of the plan.

Stay safe and have a grateful day!

Loser – Things are going to change. I can feel it. #MusicisLife #TedTocksCovers #Beck

Ted Tocks Covers submits today’s feature as the theme song for the Mandarin Mussolini’s campaign. He can play it at his Nazi rallies. All of the stunned sheep who follow him will have no problem singing along to the chorus because they have heard these words all their life, however they may struggle with the language barrier.

All they need to know is “Soy un perdedor” is Spanish for “I’m a loser.”

In the time of chimpanzees, MAGATs are like trained monkeys singing along with an orange (sometimes bronze) baboon who spews hate from the stage in a series of illiterate sentences and incoherent thoughts. They are mostly lies and always based in fear mongering rhetoric. Anyone capable of reading beyond a grade 2 level could refute anything he says with five minutes of research, or less, but sadly, reading is not the forte of the numbskulls who support this life-long con artist. Meanwhile, the self-serving grifter continues to implode before a global audience, but not before siphoning more money out of the pockets of the witless tools who support his schemes. At the time of writing, Mar-a-Lard-o was flogging fake gold, third-rate high-top shoes for $399 in order to pay down half a billion dollars in fines and settlement fees. The Con-Mander and Chief is also flogging a new brand of cologne. It smells like fermented bull shit. What ‘Cheato’ deems to be popularity is actually millions of people shaking their heads at the fact so many willfully ignorant people could support this twice impeached instrument of fascist doctrine. Their ‘imperfect vessel’ is facing 91 charges and four indictments. Only the worst of the worst lawyers will represent him at trial. Incredibly, their incompetence manages to exceed the high-level idiocy of the Moron-in-Chief. One useful idiot managed to turn a $5 million rape civil suit settlement into an $83.9 million settlement. Well done.

But in her own words, she is “would rather be pretty. She can fake being smart”.

“Habba habba”

Here’s a thought.

When you are this UGLY, no one sees you as pretty or smart.

You are judged by the company you keep. Anyone who still supports this misogynist; this liar; this rapist and disgusting bigot is seen the same way.

Anyone.

If you still support this adderall infused, disgusting and vile ingrate. This shit stain on humanity; you are indeed a LOSER.

There is simply no defense.

I have been saying this for nine years. Seriously folks…Wake up!

What will it take?

I understand though. It is a cult. It is all by design. The fascist playbook dictates that if you put a face on hate, millions of mediocre people will buy in, simply because they need someone to turn to in their pathetic existence. They look up to their Loser in Chief, and all he has to do is point at people to despise. Predictably, the mindless automatons fall immediately in line.

They need to be de-programmed.

In the meantime, let’s all sing along. Fascists stay to the far right and sing it loud and proud.

I’m a loser baby. Why Don’t you kill me.”

Beck

Then go to church and pray…or prey…whatever the leader of the cult commands.

And…End scene…

A big thank you to Beck David Hansen (born Bek David Campbell) for this wonderful free flowing poetry that serves as the feature song for today’s post. Of course, we all know him as Beck. Born in Los Angeles, Beck headed to New York City in 1989 and soon became a fixture in the NYC coffeehouse and club scene. The multi-capable musician gravitated to what became known as an anti-folk style which managed to combine an array of genres including hip hop, jazz, classical, country, psychedelic and funk. Eventually, this diversity made him a critics favourite.

In the early ‘90s Beck headed back to Los Angeles. His life was relatively aimless at this point. He was working a series of dead-end jobs and his existence was rife with financial struggles. It was on this unsteady ground that he began to combine all of his talents. ‘Loser’ was the product of an experimental period where he would combine rap beats with stream of conscience wordplay. The coffee house audience seemed to love the sound but the bizarre lyrics seems to flow by with nary a comment. Along with his friend and producer Carl Stephenson, Beck decided to test the theory that up until this point it was a matter of style over substance. The words flowed out of one self-deprecating thought.

I’m the worst rapper in the world. I’m just a loser.”

Beck

Beck wrote the essence of ‘Loser’ at Stephenson’s home, but he is pretty open about the fact that elements of the wordplay had been tumbling in his mind for several years.

I don’t think I would have been able to go in and do ‘Loser’ in a six-hour shot without having been somewhat prepared. It was accidental, but it was something that I’d been working toward for a long time.”

Beck

For Carl Stephenson’s part, he recalls being relatively unmoved by Beck’s rapping but intrigued by the basic strong structure. He came up with a guitar riff and recorded it on an 8-track. He looped it with a drum beat and Beck began ‘improvising’ lyrics in the style of Public Enemy’s Chuck D.

According to both parties, the song was written over the course of an afternoon. It was later that Stephenson added sitar and tremolo parts as well as the bassline and other samples.

Beck released ‘Loser’ on the independent record label known as Bong Load Custom Records in March of 1993. The combination of ‘Loser’ and ‘MTV Makes Me Wanna Smoke Crack’ generated some popularity on college radio. This drew the attention of some major labels. Beck ultimately opted to sign with Geffen who gave him the rare opportunity to exercise his creative freedom.

It wasn’t until a year later on March 1, 1994 that ‘Loser’ was released by Geffen as an album track on the album ‘Mellow Gold’. In this passage from ‘Rolling Stone’ Beck offers a satirical take on the journey.

The whole concept of ‘Mellow Gold’ is that it’s like a satanic K-Tel record that’s been found in a trash dumpster, quite matter-of-factly. A few people have molested it and slept with it and half-swallowed it before spitting it out. Someone played poker with it, someone tried to smoke it. Then the record was taken to Morocco and covered with hummus and tabouli. Then it was flown back to a convention of water-skiers, who skied on it and played Frisbee with it. Then the record was put on the turntable, and the original K-Tel album had reached a whole new level. I was just taking that whole Freedom Rock feeling, you understand.”

Beck

The re-release made its way to #10 on the Billboard Hot 100. On a global level, this success was repeated with top ten showings in Australia, Canada, Iceland, New Zealand and Sweden. The pinnacle of ‘Loser’s success was seen in Norway where the song went all the way to #1.

When it all comes down to it, Beck was speaking to an audience that could relate in a language that they could understand.

It sounds easy, but when you break down the most vivid of the lines within this prophetic masterpiece, you can sense the Dylanesque brilliance. It is to Beck what ‘Subterranean Homesick Blues’ was to Bob Dylan.

Like Beck says; you can’t write if you can’t relate.

If people try to tell you that you are insane to complain, let them know that silence and compliance is what the evil forces depend on in order to fulfill their agenda.

In the time of chimpanzees
I was a monkey
Butane in my veins
And I’m out to cut the junkie
With the plastic eyeballs,
Spray-paint the vegetables
Dog food stalls with the beefcake pantyhose
Kill the headlights
And put it in neutral
Stock car flaming with a loser
And the cruise control
Baby’s in Reno with the vitamin D
Got a couple of couches,
Sleep on the love seat
Someone keeps saying
I’m insane to complain
About a shotgun wedding
And a stain on my shirt
Don’t believe everything that you breathe
You get a parking violation
And a maggot on your sleeve
So shave your face
With some mace in the dark
Saving all your food stamps
And burning down the trailer park

(Yo. Cut it.)
Soy un perdedor
I’m a loser baby, so why don’t you kill me?

(Double-barrel buckshot)

Soy un perdedor
I’m a loser baby, so why don’t you kill me?

Forces of evil in a bozo nightmare
Ban all the music with a phony gas chamber
‘Cause one’s got a weasel
And the other’s got a flag
One’s on the pole, shove the other in a bag
With the rerun shows
And the cocaine nose-job
The daytime crap of the folksinger slob
He hung himself with a guitar string
Slab of turkey-neck
And it’s hanging from a pigeon wing
You can’t write if you can’t relate
Trade the cash for the beat
For the body for the hate
And my time is a piece of wax
Falling on a termite
Who’s choking on the splinters

Soy un perdedor
I’m a loser baby, so why don’t you kill me?
(Get crazy with the Cheeze Whiz)
Soy un perdedor
I’m a loser baby, so why don’t you kill me?
(Drive-by body-pierce)

(Yo, bring it on down)
Soy

(I’m a driver; I’m the winner;
Things are gonna change
I can feel it)

Soy un perdedor
I’m a loser baby, so why don’t you kill me?
(I can’t believe you)
Soy un perdedor
I’m a loser baby, so why don’t you kill me?

Soy un perdedor
I’m a loser baby, so why don’t you kill me?
(Sprechen Sie Deutsch, baby?)
Soy un perdedor
I’m a loser baby, so why don’t you kill me?
(Know what I’m saying?)”

Beck and Carl Stephenson

It truly is a ‘bozo nightmare’

Music and art threatens the powers that be. Artists and poets are labeled as subversive because they disturb the nest. Those who challenge the radical rhetoric are branded as fake and rebellious. From the pulpit, the demon figure suggests that the thought-provoking creativity produced by the thinking class, be locked away in the gas chamber of time. Let it be forgotten. Because the ability for individual thought is the worst enemy of a fascist doctrine.

This is what Beck is speaking of in ‘Loser’. He is reflecting his time.

I’d realized that a lot of what folk music is about taking a tradition and reflecting your own time. I knew my folk music would take off, if I put hip-hop beats behind it.”

Beck

When an artist manages to reflect his time effectively, the end result transcends to from a period piece to timeless.

This is where an important passage in ‘Loser’ jumps out. Becks actually borrowed a line from his friend Steve Hanft who wrote and produced the movie ‘Kill the Moonlight’. Hanft would go on to direct the ‘Loser’ video.

Things are going to change. I can feel it.”

STEVE HANFT

We can only hope.

In order for this to happen, we need to understand that change begins with you. If you need to wear a red hat with a bullshit slogan and bow down before a narcissistic tool who serves only himself, you are lost in the wilderness of time.

Like Beck said; “time is a piece of wax, falling on a termite”, and you are choking on the splinters. Because, when all you do is chew on other people’s crap, eventually the bullshit becomes too much to swallow.

And…End scene…

The best part about seeking quality cover versions of popular songs comes in those moments when I find recordings that make me smile as I listen. Each of the covers to follow do exactly that. Two of them are familiar names to Ted Tocks Covers readers and one may be new to you. Listen on.

Enjoy Richard Cheese from his 2002 album ‘Lounge Against the Machine’. This album has been featured on several occasions. The lounge style delivery works every time. My only complaint is he chooses to abbreviate ‘Loser’.

Here is my vote for the best cover of ‘Loser’. Listen and decide for yourself.

This is the Cleverlys. Their unique style has entertained music fans from their Ozark Mountain roots all the way to the stage of the Grand Ole Opry. Back when the New York Times was seen as the standard for news a journalist wrote this summary.

“If Dolly Parton, Earl Scruggs, and Spinal Tap spawned a litter of puppies, it would be The Cleverlys”

This video juxtaposes ‘Loser’ into a wild and crazy, backwoods wrestling scene. Chaos ensues. But, like every train wreck, you just have to watch until the end.

The third cover is from the ever-reliable Leo Moracchioli who recorded ‘Loser’ in 2020 on his phenomenal YouTube channel. If Leo covers it, Ted Tocks Covers is sharing it.

Hit it…

Today’s feature was intended to offer a little pause for thought.

Hopefully it succeeded to some degree My concern, as always is that typically we only manage to preach to the converted.

When Beck wrote ‘Loser’ there was a purpose. He was writing for one, but he knew he was speaking for many.

This fact intrigues me because Ted Tocks Covers also writes for one, but as each feature is shared, it becomes somewhat clear that on occasion, I speak for many.

This is just one more example of the fact that we all carry within ourselves the capacity for change.

This can only happen if we speak out against the madness before a figurative flaming clown car full of  losers gets set on cruise control, programmed to drive over a cliff.

So Long, Marianne – It’s time that we began to laugh. #MusicisLife #TedTocksCovers #LeonardCohen #MarianneIhlen #Beck #JohnCale #SuzanneVega #AdamCohen #TheWebbSisters #CourtneyBarnett #MarthaWainwright

Come over to the window, my little darling
I’d like to try to read your palm
I used to think I was some kind of Gypsy boy
Before I let you take me home”

Leonard Cohen

And so, begins the song that will be the source of today’s feature. Perhaps, one of the most beautiful love stories ever captured in song. The song is ‘So Long, Marianne’ and the muse was Marianne Ihlen (Jensen). As we all know, the songwriter/poet was the eloquent Leonard Cohen. Here is a brief account of the ten year relationship that inspired this passionate piece.

Leonard Cohen was spending time on the Greek Island of Hydra in 1960. He met Marianne Ihlen during a very vulnerable time in her life. She was married to a Norwegian writer named Axel Jensen. Marianne had gone back home to Norway to give birth to the couple’s son. By the time Marianne and the infant child returned, Jensen had left her for another woman. Marianne was left shattered and confused. As she relayed her woeful story to a local shopkeeper, she noticed a silhouette in the doorway. A gentlemen’s voice called out to her.

I know that you’re Marianne, and I know what’s happened, come out in the sun and have a glass of wine.’

Leonard Cohen

The voice was Leonard Cohen. Despite the traumatic circumstances, Leonard and Marianne developed a very strong relationship borne out of support and compassion on Cohen’s part, and certainly, vulnerability and need on Ihlen’s. When Marianne was ready, Leonard Cohen drove her and Axel Jr. back to Oslo, but even then, she had some serious self-doubt. Leonard Cohen managed to talk her through this dark period. Eventually she moved to Montreal and for about a decade they commuted between Montreal, New York City and Hydra. Marianne credits Leonard Cohen with saving her life during the early days of this unthinkable transition. Later on, she stated that he made her feel loved and worthwhile as a person, both inside and out.

There is a long list of poetry and songs written by Leonard Cohen that were inspired by Marianne. ‘So Long, Marianne’ is an obvious example, but Cohen also dedicated his entire third volume of poetry known as ‘Flowers for Hitler’ to her. Another very famous song written by Cohen while Marianne was in her company was the evocative ‘Bird on the Wire’ from 1968.

I have found myself listening to Leonard Cohen a lot in recent weeks and the depth of his writing becomes an exercise in soul mining. He had the ability to bare his own soul, but he often managed to reflect the human condition. On occasion, it was dark, but it was always honest. His ability to capture the moment continued to his final days and this is where the love story of Leonard Cohen and Marianne Ihlen consummated its eternal knot.

In the summer of 2016, Marianne was diagnosed with terminal leukemia. She reached out to her friend and confidant, writer Jan Christian Mollestad to communicate her fate to a small group of friends. Leonard Cohen was on that list. Mollestad dutifully carried out Marianne’s wish and sent an email to him at his home in Los Angeles. Within two hours Mollestad received an emotional and grippingly honest letter back. Here is a passage:

Well Marianne, it’s come to this time when we are really so old, and our bodies are falling apart, and I think I will follow you very soon. Know that I am so close behind you that if you stretch out your hand, I think you can reach mine. And you know that I’ve always loved you for your beauty and for your wisdom, but I don’t need to say anything more about that because you know all about that. But now, I just want to wish you a very good journey. Goodbye old friend. Endless love, see you down the road.”

Leonard Cohen

By his own account, Mollestad indicated that at the moment he read the line about ‘stretch out your hand’ Marianne reached out to him. As he finished, he hummed ‘Bird on the Wire’ and then kissed her on the forehead. Two days later, Marianne lost consciousness. She died a short time later. It was on this day in 2016. Jan Christian Mollestad sent this letter to Leonard Cohen because he wanted to be sure he was aware of the emotional power of the moment:

Dear Leonard

Marianne slept slowly out of this life yesterday evening. Totally at ease, surrounded by close friends.

Your letter came when she still could talk and laugh in full consciousness. When we read it aloud, she smiled as only Marianne can. She lifted her hand, when you said you were right behind, close enough to reach her.

It gave her deep peace of mind that you knew her condition. And your blessing for the journey gave her extra strength. Jan and her friends who saw what this message meant for her, will all thank you in deep gratitude for replying so fast and with such love and compassion.

In her last hour I held her hand and hummed Bird on a Wire, while she was breathing so lightly. And when we left the room, after her soul had flown out of the window for new adventures, we kissed her head and whispered your everlasting words…

So long, Marianne”

Jan Christian Mollestad

Leonard Cohen, ever true to his word and conviction passed away, just over three months later. As he promised;

I will follow you very soon.”

Leonard Cohen

Fortunately, through the honesty of Cohen’s prose, all of us are left to imagine the moments this couple had together in this beautiful, albeit short-lived love story. The video I shared at the outset displays numerous photographs of their time together. As much as ‘So Long, Marianne’ captures a period of time in their long and productive lives, for Cohen at least, it is tinged with regret. Here is the complete poem:

Come over to the window, my little darling
I’d like to try to read your palm
I used to think I was some kind of Gypsy boy
Before I let you take me home

Now so long, Marianne
It’s time that we began to laugh
And cry and cry and laugh about it all again

Well, you know that I love to live with you
But you make me forget so very much
I forget to pray for the angels
And then the angels forget to pray for us

Now so long, Marianne
It’s time that we began to laugh
And cry and cry and laugh about it all again

We met when we were almost young
Deep in the green lilac park
You held on to me like I was a crucifix
As we went kneeling through the dark

Oh, so long, Marianne
It’s time that we began to laugh
And cry and cry and laugh about it all again

Your letters, they all say that you’re beside me now
Then why do I feel alone?
I’m standing on a ledge and your fine spider web
Is fastening my ankle to a stone

Now so long, Marianne
It’s time that we began to laugh
And cry and cry and laugh about it all again

For now I need your hidden love
I’m cold as a new razorblade
You left when I told you I was curious
I never said that I was brave

Oh, so long, Marianne
It’s time that we began to laugh
And cry and cry and laugh about it all again

Oh, you are really such a pretty one
I see you’ve gone and changed your name again
And just when I climbed this whole mountainside
To wash my eyelids in the rain

Oh, so long, Marianne
It’s time that we began to laugh
And cry and cry and laugh about it all again

Leonard Cohen

Similar to many of Leonard Cohen’s most well-known songs ‘So Long, Marianne’ has been covered by countless artists through the years.  Each one is steeped in adulation for the influential songwriter. I was captured by this version featuring the talented and diverse, Beck. My respect for him continues to grow.

When I saw that John Cale and Suzanne Vega covered, ‘So Long, Marianne’ I was intrigued. I was not disappointed. Vega’s voice is like silk. By offering a female voice to the chorus of this classic arrangement she gives it additional depth. Gorgeous! John Cale is significant because he was one of the key artists to bring the Cohen classic ‘Hallelujah’ to the mainstream.

In 2017, Leonard Cohen’s son, Adam performed ‘So Long, Marianne’ during the ‘Tower of Song: A Memorial Tribute to Leonard Cohen’. He shared the stage with The Webb Sisters. This special performance was unavailable, but here is an equally stunning presentation from 2010. This version also soars as he is accompanied by Suzanne Santo and Ben Jaffe of Honey, Honey. A fine example of music and the power of the written word.

As I listened to the many cover versions, I was drawn to this acoustic cover by Courtney Barnett. It was an MTV unplugged version from 2019. She captures the essence of the song over five decades later. As I took a deeper look into her choice to cover this song, I found this quote very reaffirming. Not only does she get it on a musical level, she understands the composition on a spiritual plane.

It is very pleasant that such a spiritual man and such a good composer has connected in this way with themes such as mortality.”

Courtney Barnett

Here is her version.

I felt the perfect way to close this Ted Tocks was this passionate footage of the ‘Fringe Dwellers’ delivering ‘So Long, Marianne’ from her balcony in the early days of the COVID-19 lockdown. It strikes me as a very honest portrayal of universal longing as we entered a challenging period.

This cover was inspired by the city’s plea to gather and sing in unison the previous night. Pop Montreal was emulating similar activities in Italy. It was meant to emphasize togetherness while practicing social distancing. Residents were invited out to their balconies, porches and rooftops to sing ‘So Long, Marianne’ not only as a tribute to Leonard Cohen, a long time Montreal resident, but as a way of letting each citizen know that they were not alone. It was led by another Montreal resident and long-time family friend, Martha Wainwright. Of course, it all begins with the line;

Come over to the window, my little darling.”

Leonard Cohen

This live stream was shared city wide on the March 22, 2020. Thousands of Montreal residents participated in this act of solidarity.

We are proud of our ability to work together through difficult times. So, while there are dark clouds ahead, let us gather together and conjure the spirit, endurance, and wit of our favorite son – Leonard Cohen.” 

Pop Montreal

Love – Love is knowing we can be. #MusicisLife #TedTocksCovers #JohnLennon #YokoOno #BarbraStreisand #TheDreamAcademy #TheCure #MorganFisher #Beck

Happy Anniversary Heather!

Thanks for living love, but mostly, thanks for putting up with me and my many blemishes.

28 years ago, today. Our wedding song has always said it all and then some.

Love

Love is real, real is love
Love is feeling, feeling love
Love is wanting to be loved

Love is touch, touch is love
Love is reaching, reaching love
Love is asking to be loved

Love is you
You and me
Love is knowing
We can be

Love is free, free is love
Love is living, living love
Love is needing to be loved

John Lennon

It’s fun to listen to so many cover versions of a lesser known John Lennon song. Here is Barbra Streisand from 1971.

The Dream Academy does a nice version. It was released right around the time we got married.

It is interesting to listen to The Cure’s rendition because this band was huge when we were growing up in the ‘80s. The soundtrack of our lives.

I listened to this cover with a great deal of interest. Morgan Fisher released this unique rendition in 1990. Fisher was the keyboard player for Mott the Hoople. The vocals for this version were read by none other than Yoko Ono…the inspiration for the song.

Finally, the multi-instrumentalist, Beck recorded a strong cover of ‘Love’ in 2014.