Ashes to Ashes (Bowie Remembered)

Authored by Dale Nickey:



Superheroes aren’t supposed to die…

David Bowie loved to surprise and shock people. Sadly, he saved his best for last as he passed on Sunday January 10, 2016 at the age of 69. No one saw it coming.

Everything he did in life was art. The way he looked, his elegant speech, videos, film, music…above all, the music. It makes sense that he would orchestrate his final exit to perfection and go out on top. And somehow, leave us smiling through the tears.

Born David Jones, Bowie entered the music business through the same portal as many other seminal British artists during the sixties; he attended art school and cultivated a passion for music. He paid his dues playing in R&B bands on the London club circuit. The Kingbees and The Manish Boys were among the more notable ensembles Bowie played in during that era.



His recording career was going nowhere in particular until he released the epic single “A Space Oddity” in 1969 (five days before the Apollo moon mission). It became a hit single in Britain (and later in the U.S.). Although “A Space Oddity”” didn’t catapult him to worldwide stardom at that time, its success earned him the opportunity to make more records until he found his stride.

In 1971 he released “Hunky Dory”, arguably the finest album of his career. It was a gigantic leap forward from his previous album, the spirited but scruffy “The Man Who Sold the World” where Bowie grabbed the attention of the press by shooting the album cover lounging on a chaise in a dress. “Hunky Dory” yielded the classic rock evergreen “Changes”. The rest of the album is a masterclass in songwriting; ranging from the acid folk of “Andy Warhol”, to the Punk Glam snarl of “Queen Bitch”, to the dour S & M imagery of “The Bewley Brothers”. There was no filler, only brilliance. But, how could he possibly top himself?


1972 saw the release of “Ziggy Stardust and The Spiders from Mars”; an album that (in its own way) changed the world as much as Beatlemania. The Beatles only hinted at an androgynous parallel universe where the languages of art, love and lust were freely spoken. Now we had a painted, sequined poster boy who not only talked the talk, but came armed with classic tunes that could outlast the critics and the naysayers. Bowie made it OK for a man to wear makeup and look beautiful. Well, for a little while anyway.

“Hunky Dory”, “Ziggy Stardust” and “Aladdin Sane” comprise one of the most potent trilogies by any artist in the history of Rock Music. 1974’s “Diamond Dogs” was brilliant but something had changed. Bowie dumped his faithful backing band and was clearly eager to jump into the artistic void.


“Young Americans” used Philly soul to capture the ears of America. The album yielded Bowie’s first American chart topper “Fame” (co-written with John Lennon). With “Station to Station” Bowie entered a harrowing phase of drug abuse that saw him lose his memory and a significant portion of his body weight. Didn’t matter, Bowie was now an artist for the ages who couldn’t make an inconsequential album

Bowie had to rehab and reboot or snuff it. For Bowie, that meant taking his buddy Iggy Pop and moving to Berlin by The Wall. He did things like shop for his own food and wash his own laundry. The austere cold war environment inspired his second great trilogy of albums. “Low”, “Heroes” and “Lodger”. Bowie brought Art-Rock heavyweight Brian Eno in to collaborate and help him explore his inner Stockhausen. Never had such a commercially potent artist taken such a radically uncommercial detour. Bowie was reinvigorated, his muse was overhauled and ready to meet the challenge of the 80’s.



Bowie was famous and successful. But, he had not yet achieved ubiquitous celebrity in America. That changed with “Let’s Dance”. It was a pure commercial dance record by design. Bowie brought in Chic hit maker Niles Rodgers as producer and introduced the world to an unknown guitar slinger by the name of Stevie Ray Vaughn. Massive hit singles “China Girl”, “Let’s Dance” and “Modern Love” pummeled the charts, radio and MTV. David Bowie owned the year of 1983.

Bowie would never scale those heights again. He still made good records. He also did some big tours and stayed ahead of the curve by selling shares in the David Bowie brand on the stock market. He also accurately predicted that streaming and file sharing would destroy the music business as we knew it. He did several films, live theater, raised a wonderful family and manfully followed Queen after their epic Live Aid performance at Wembley Stadium.

People sometimes forget he was a good sax player. He did all the horn parts on his early albums. He was a one take wonder. Super producer Ken Scott rated him as the best studio singer he ever worked with. There were no bum takes on a David Bowie session. He wrote “All the Young Dudes” for Mott the Hoople; and who can ever forget his duet with Freddie Mercury, “Under Pressure”?

He was also a heavy smoker. He packed up in later years, but who knows what damage had been done. He died of cancer far too soon. However, he remained trim, youthful and dapper to the very end. He died a dignified and peaceful death surrounded by family. Listen to his music and be amazed by the wonder of it all.


Jandek on DVD – Houston Thursday

Authored by Dale Nickey:


 JANDEK “Houston Thursday”

Corwood Industries (0818)

Filmed live at Mango’s in Houston Texas – July 12, 2012

Prepare to get punked….

“Houston Thursday” sees The Representative of Corwood Industries (aka Jandek) getting down to his industrial-punk roots. In stark contrast to Jandek’s recent trend towards extended compositions; “Houston Thursday” is a taut, no nonsense sprint through 16 songs. The majority of the numbers clock in at under three minutes with only the final track (Glass Boxes) breaking the four minute mark at a tolerable 09:37.

Don not attempt to adjust your screen at the start of this DVD. The opening image is an indistinct (but intentional) blur that had me fiddling with my remote. However, once we gain admittance to the venue, the videography reveals itself to be creative and mood appropriate. Front woman Sheila Smith is the visual focal point of this performance. Sporting a pageboy hairstyle that is reminiscent of Uma Thurman in Pulp Fiction; Smith shouts out verse over thick slabs of Guitar, Bass and Drums. The Representative of Corwood Industries confines himself to electric guitar for the entire set. His fully bearded face is seldom seen. Mostly, we get shots of the man from the waist down or close ups of his hands playing the guitar.

In keeping with the fast and furious spirit of “Houston Thursday”, here is a brisk wind sprint through the track list:

My Letters – DVD opens with artsy fartsy camera work set against a staccato eighth note groove. Droning metal mayhem sets the pace for the remainder of the set. Opening missive, “You don’t understand my voice”.

Emergency – Old school thrash quickie for the A.D.D. sufferer. The homer crowd is clearly into it and cheers lustily after each number. Smith advises, “You should learn how to ride a bike”.

Your Designs – Concise little ditty that answers the musical question, ‘who gives a shit?’ Key lyrics, “I don’t want to know your designs, I don’t want to know your thoughts, I don’t want to have a clue about you. Not knowing is better… You confuse me, you confuse everyone…” Well done.

Dallas Bitches – Nice razor wire guitar work from The Representative in support of Sheila Smith’s rant about…well…Dallas Bitches.

On The Metro – Prickly echoed guitar squall set to a nice bass hook and syncopated drum work. Sheila likes cars about as much as she does Dallas Bitches.

Walk Talk Leave – Sheila looks amazing. But, she’s pissed because people are jackoffs. “They exist to resist”. They are also crappy listeners; because apparently, they have water in their ears.

Asked For A Refund – One of the longer entries at 3:20, The Rep kicks things off with a space needle guitar intro. Then Sheila testifies, “They cut me open and I did not bleed…they sewed me back up”. Sheila’s desire for a refund remains unrequited.

Can’t Hear You – More auditory problems ensue as Sheila laments “I can’t hear you, even while I am listening”. One of the few selections on “Houston Thursday” that courts dispensability. Nice bass line though. The Representative finally makes his verbal presence felt with two well timed grunts.

Floor – Throughout “Houston Thursday” The Representative of Corwood Industries (aka Jandek) mixes in liberal amounts of echo to pleasing effect. Moreover, his guitar work boasts an atonal cogency that is eye opening. Part way through “Floor”, the bassist and drummer ‘floor it’ unexpectedly and drive the tune into a nice concrete wall ending.

Chit Chat – Sheila regains control of the stage and eloquently communicates her inability to communicate. The Representative kills it on guitar. One of the best tracks on the DVD. Really could have gone on a bit longer.

Sit On Your Feet – Speed metal drumming in support of The Representative. Smith sits at the feet of The Representative in another paean to ineloquence.

Not Think – Nice jazzmeat drum solo starts things up as The Representative does some higher register lead guitar work suitable for a slasher flick, then dives down to some thick, lower register improvisation that brings to mind some of Robert Fripp’s more anarchic moments.

Books That I Read – Lo tech/high concept camera angle brings us into the audience for the first time. Guitar, Bass and Drums come at each other from all directions – fists flying – until a sudden breakdown ends the piece. Impressive.

Beholden To You – Still viewing from the audience, the band slams in and we find Sheila (stage right) kvetching about being too short for the microphone. The Representative guides the way with a wall of red noise, then switches gears to some nuanced lead work and back again.

People Will Talk – Dumb as dirt drumbeat starts in support of Jandek’s wall of grunge. Close ups of Sheila evoke the image of a pretty little Goth princess who could murder you in your sleep after giving you the best sex of your life.

Galveston – Sheila Smith scores more face time and the camera clearly loves her. Key lyrics, “She’s in charge, she’s responsible, she takes care of us all. We love her, but we don’t know her.” And, “I moved to Houston after the flood.” Sheila also states unequivocally that she doesn’t believe in renters insurance. Jimmy Webb run for your life.

Glass Boxes – Weirdest thing, my reliable old hi-fi receiver packed up and took a shit right before this track commenced. Spooky. Anyway, viewing this without sound gave me an appreciation for the videography which appears to be a single camera shoot. The vibe of the music is captured and augmented by creative use of angles, movement and light (or) lack thereof. Textbook example of DIY Punk videography – if there is such a thing. Musically, “Glass Boxes” is a slow burn monologue that finds band and Sheila playing off each other. Smith describes a visit to an art exhibit where the artists are housed in glass boxes. Armed only with a pamphlet and instructions to keep smiling, the narrator tries to make sense of it all without much success. After some initial musical fireworks, the flame of the song flickers and slowly extinguishes itself courtesy of a delicate drum beat fade out. Show’s over.

Houston is Jandek’s hometown. It makes sense that he would do some of his best work on his home turf. “Houston Thursday” is a refreshing change-up from Jandek’s supersized offerings in recent years. Fans of L.A. speed-punk merchants – The Minutemen and noise-pop purveyors Beast of Beast will find comfort here. This DVD also reveals Sheila Smith to be a key player in Jandek’s late period renaissance. Among the many live DVD concert performances that inhabit The Corwood Industries catalog, “Houston Thursday” stands as one of the best.


To visit the Corwood Industries catalog click >>


Debut Albums that Shook My World – Lene Lovich “Stateless”

Authored by Dale Nickey:



They were called “promotional films” back then. There was no television broadcast channel dedicated to music. MTV was a few years off. The Z Channel was the one cable channel on the block where you could watch movies intended for mature audiences. Now and then you would see a band you liked on The Midnight Special or In Concert. There were a few local music shows on TV too. But, not many.

Anyway, promotional films were becoming the main avenue for up and coming British artists to plant their flag on U.S. soil. That’s how I found Kate Bush. Then, one day Lene Lovich came.

Kate Bush was odd and ethereal. Lene Lovich was just plain weird…and wonderful. She just materialized on my television one night. Exotic, pretty and tough as nails. Never saw that combination of attributes in a woman before. She was Punk, but not really. It was a whole different ball game. In her music I heard Classical, Motown, and Rockabilly…the works. Her first song that made it over to the states was “Lucky Number”. The film for that song was from a hipper world than the one I lived in. Lene’s boyfriend (Les Chappel) was the guitar player and looked ominous with his shaved head. Not like today – when everyone from your cable guy to your coffee barista is a skinhead. Back then, in the era of Prog caped-crusaders with flowing locks, it was a real statement. A statement of what, I was wasn’t sure. I wasn’t jealous of Les because he didn’t seem like a typical yob boyfriend. He seemed more like Lene’s loyal subject and henchman. Indeed, the video showed the band standing well behind Lene bowing in submission while she declared:

“…everything I do I take complete control, that’s where I’m coming from. My Lucky Number is one”

The only question that remained was; where can I buy this goddamned record?

Stateless was her first album and everything about it was perfect. This was an album by a female artist, but the artwork was refreshingly absent  pinks, pastels and squiggly graphics. The American version had Lene facing the camera, unsmiling, shot from the waist up. Giving nothing away. Wearing a black tunic like those favored by Communist politburo officials. She looked like Stalin or Mao Tse Tung reincarnated as a hot chick. Even had a dimple on her chin like Mao. Love at first sight.

The back cover was equally austere black and white. Nobody could guess what era this album came from if they didn’t know already. It was the perfect tonic for a lost, inquiring, non-conformist punk like me. There was a time when kids didn’t want to fit in, or wear the same poncy sneakers as everybody else. We didn’t want our heroes to look like us. We wanted something out of this world; or at the very least, not of our world. Lene was a British artist, born in Detroit with Yugoslavian ancestry. Maybe there was a god.

Lene would show up fairly regularly on TV. I can’t remember which shows. But, somehow she found me. Then came the film for “Say When”. It was a live band performance mimed to the record. Didn’t matter. The film showed a town hall full of kids, arms locked and smashed together like sardines going ape shit. There was Lene, braids down to her ass, blissfully ignorant of any fire code, gleefully detonating this explosion of teen hormones. Little did I know the woman was 30 years old.

Lene had a hot hand. Kate Bush couldn’t gain any traction with the American audience but Lene was making her mark. After Stateless, came the album Flex and a thunderbolt from the heavens, “Bird Song”. “Bird Song” (the film) got a lot of play in America. I was surprised it didn’t do better on Billboard, but I saw it on TV a lot. Lene in a wedding gown, in mourning dress, in graveyards, stalked by evil priests.  Beautiful, dour, bold, and gothic. I fell hard under the spell of “Bird Song”, Her vocals were from another dimension. I then realized that at the core of all great art there was sadness. Happy songs were stupid.

Lene needed a hit, so she came up with “New Toy”. The perfect single. She swung the hammer that drove the final nail into the disco coffin by becoming the first musical artist to put on a concert at the disco mecca Studio 54. She was on her way. Incredible performer. Better than Jagger even. Nothing could stop her it seemed.

Then she was gone. She didn’t say goodbye. She just wasn’t there anymore. Me and my friends got older and started making our own music and hooking up with girls. The new wave of rock music (inspired by Punk) got co-opted by the dweebs in The Biz. They hogtied it, categorized it, and gave us Spandau Ballet and Haircut 100. That wasn’t how it was supposed to go down. Stiff records didn’t think Lene was commercial enough so they held up her next album for two years. Just long enough for Michael Jackson to happen. Just long enough for the Hip Hop hoards to arm themselves with their beatboxes and begin their long march, trampling over all that stood before. The music world slowly but surely began its fade to black.

Lene Lovich wasn’t made for this world, but she stopped by for a visit and left us some cool presents before she de-materialized. Stateless was one of those gifts. We never got to see the production of ‘Lene Lovich Superstar’. But we will always have the legend. Legends are better than stars. They endure.

Jandek on DVD – “Brussels Saturday” (Review)

Authored by Dale Nickey:


Brussels Saturday

Corwood Industries (0817)

Filmed live at Ancienne Belgique – Brussels Belgium 4/19/14

Latest release from ‘The King of The Outsiders’

Musical artist Jandek has just put out “Brussels Saturday”; a live concert DVD that represents his ninety-third official release (counting LP’s, Audio CD’s and DVD’s). Yes you heard me, ninety-third. Many of his releases are multi-disc sets; all of which contain original material not reprised on other releases. They are manufactured and released by Jandek’s company Corwood Industries based in Houston Texas.  The only address is a P.O. Box number that has remained the same from 1978 to the present day.

If you find yourself rubbing your brow muttering…Huh?…Wha?… Let me explain.

Jandek slithered into the consciousness of the Rock music press in 1978 with the release of “Ready for The House”; an LP containing music that couldn’t be adequately described or reviewed due to its primitive and abstract qualities. The album contained absolutely no information about the artist, the music, or the locale and date of the recording. On a typical Jandek release you got nothing but a grainy, black and white cover photo (with no graphics) and a back cover listing only the album and song titles. The music was delta blues from a distant, alternate galaxy. A brittle – seemingly out of tune – acoustic guitar was strummed haphazardly, supporting equally tuneless meandering vocals. I’ve previously described the production quality as sounding like a field recording from a segregation unit in some remote mental health facility in rural Pennsylvania.

Jandek would go on to pursue this identical template for the next nine (or so) albums. Jandek’s records could be bought through mail order only. Music Journalists were entranced by his unwillingness to grant interviews or divulge personal information. In a day before the internet, the true identity of Jandek was subject to wild speculation and urban legend. One particularly outlandish theory held that Jandek was the mentally challenged child of a loving and generous Texas oil baron who wished to indulge his progeny’s love for music. A theory since debunked.  A feature film documentary about the man “Jandek on Corwood” was released in 2003. It only succeeded in raising more questions than it answered.

Similar to his records, The Corwood Industries catalog was a stark, black and white affair that only listed titles and catalog numbers. No artwork, bio, or explanations of content were offered. It had all the charm of a police rap sheet.  However, the prices were reasonable and Corwood Industries even picked up the shipping tab. It’s only been in the last two years that Corwood Industries has stepped into the new century, adding an email address, buy-buttons and album art to its page.

Click to visit Corwood >>>>>>

The pace of Jandek’s evolution has been glacial but continuous. His second period in the 80’s and 90’s, saw collaborations with other (uncredited) musicians and experimentation with electric instrumentation and more refined audio quality. Jandek then went through a harrowing three album acapella period. 2004 marked his ‘modern period’ when he shocked the world by performing live for the first time. In 2013 he issued a nine CD set of quasi-classical piano nocturnes “The Song of Morgan”.  He has since granted a magazine interview and continues to put out concert DVD’s that empirically document the actual existence of the man we know as Jandek, but who never refers to himself as Jandek. He only acknowledges himself as “The Representative of Corwood Industries”. Our current view of Jandek is that of a well-spoken, black clad, urban troubadour of the pre-apocalypse.

So with all that, we now have “Brussels Saturday”. Jandek’s new release is an attractively staged and filmed DVD document of his concert in Brussels Belgium on April 19, 2014.

Lead track “In my Mind” opens with the stage framed in black, bathed in blue Indigo lighting and populated with companion and co-conspirator Sheila Smith on fender bass and brunette beauty Annelies Van Dinter on keyboards and vocals. The opener finds Van Dinter reading from a music stand which (I assume) contains lyrics penned by The Representative of Corwood industries. The man himself is on drums, punctuating the mood with mallet fills and cymbal splashes.  The music is meditative, light on dissonance and heavy on atmosphere. Van Dinter sings in a mopey, dusky voice that eschews arty pretention and immediately brings to mind “Nancy Sings” – the stunning album cut from Jandek’s “Chair Beside A Window” (1982). We’re reminded of the artistry and nuance imbedded in Jandek’s work when he is moved to outsource singing duties to a more conventional practitioner.  Clocking in at 9:07, “In My Mind” is a suitable opener that doesn’t overstay its welcome.

“Friday Morning” clocks in at an imposing 37:20 and finds the trio playing musical chairs with the instruments. Jandek mans the keys, Sheila is on drums and Van Dinter moves to bass. After some tentative noodling, Jandek settles into a slow walking bass and delicate right hand improv that could have been lifted straight off his monolithic 9 CD album “The Song of Morgan”. A few minutes in, Jandek introduces some softly uttered spoken word. The girls seem content to contribute only understated percussion and droning bass. The camera work is likewise understated and unfussy; and seems a two shot enterprise. As the piece progresses it is reminiscent of Jandek’s stream of consciousness marathon, “Athens Saturday” from a few years back. Van Dinter bass work is intuitive and inventive given the restraints of the piece. Annelies Van Dinter is a real find and one wonders if she’s a local artist contracted for one gig, or will occupy a recurring role in the Jandek saga.  The meditative mood continues with dissonant, abstract note clusters from Jandek at the keys, the harbinger of a musical storm soon to come.

Jandek lyrically returns the themes of the ocean and water quite often. He is constantly drifting, questioning, professing love and his need for a reciprocity of emotions. Sometimes his voice maintains a soft, keening monotone while at other times it’s a plaintive howl of uncertainty and frustration.

On “Phantom Touches” Jandek mines familiar territory. Sheila grabs the mic and The Representative grabs a Fender Stratocaster. What follows is a dissonant, brackish and discomforting guitar improvisation with Van Dinter revealing herself to be as expert and inventive on drums as she is on keys and bass. The absence of bass guitar is hardly noticeable.

On “Maybe You’ve Died” Smith’s spoken word rant is obviously directed at Jandek. She confronts him with his own mortality. After some preemptive dancing and writhing she admonishes her man for not returning calls, or responding immediately to her texts, causing her to exclaim, “you might have died!” and further causing her to wonder, “what if you died, would the morgue call me?”.  Jandek will turn seventy in October.

Closing piece, “The Blue Sky” is a gorgeous conclusion to the set. Smith carries the piece with some spooky and transcendent piano work that’s evocative of Ray Manzarek on Angel Dust; Jandek grabs the mic and a lyric sheet, his body twisting and hunched over in the rapturous, psychic anguish of a deep, life concluding love. Van Dinter contributes understated acoustic guitar. On “The Blue Sky”, Jandek is delivering high-octane emotive art, and seems transported to another place entirely.

So there we have it, Jandek’s latest sojourn into the outer limits of sight and sound. If Jandek is sound weaving the emperor’s latest line of fashion, it is a profound and inventive illusion that he has maintained for thirty-seven years. The records continue to issue forth, and concerts continue to sell out. We now know who Jandek is. But, two questions stubbornly remain unanswered. Why? And, the far more important and foreboding…How long?

Jandek – “St. Louis Friday” – (DVD Review)’

Authored by Dale Nickey:

More Jandek? Click>>>> morgan / LAlive


ST. Louis Friday (DVD)

Recorded Live at The Billiken Club St. Louis Missouri – (March 21, 2014)

Corwood Industries (0816)

Stamp Out Reality…..

In 2004 Jandek crawled out of his carefully maintained crypt of self-imposed obscurity. Gradually, like a racehorse revving up to full gallop, he has released a dizzying catalog of DVD’s documenting his live performances throughout Europe and North America. It is doubtful Jandek’s globetrotting is supported by his record sales. So we are left to wonder how The Representative of Corwood Industries underwrites his cacophonic crusades.  Jandek peels off layers of mystery only to add others.

I was bestowed a review copy of “St. Louis Friday” recently. Jandek’s live performance DVD’s do not serve the same function that they would for a more conventional artist. His live performances do not document or codify his accumulated repertoire. They are simply field recordings of new (mostly improvised) music with the added stimuli of moving images of the man in holy communion with his muse.

On “St. Louis Friday” Jandek continues a methodology that I first witnessed at his live performance in Los Angeles a couple years back. Which is, assembling a cast of local musos to play improvised free music without a net. All under the watchful eye of free-radical poet/performance artist Sheila Smith.

Sheila Smith is now Jandek’s muse, collaborator and onstage foil. She can be found behind the drum kit, at the keyboard or in The Representative’s face; taunting, seducing and speechifying.  For this writer, comparisons to Yoko Ono are probably as unfair as they are unavoidable.

The cinematic aspect of “St. Louis Friday” is puzzling at best. The video quality is a colorless wash of underdeveloped whites and grays. There are two explanations possible. The videographer pooched it by hitting a wrong button on the camera, and Jandek said “screw it, put it out anyway” or Jandek decided the music performed was best represented with snuff flick production values. Yet another unanswered mystery.

Our hero opens the proceedings parked in a wooden straight-backed chair with an acoustic guitar, fiddling around trying to find an open channel to that peculiar, inexhaustible muse that he mines so consistently. At the doorstep of his seventieth year, the subjects of mortality, aging and entropy are clearly front and center in his mind. Indeed, his lyrics right out of the starting gate declare, “My body is wasted”.

On the second song, “The Capsized Boat” Jandek is clearly more preoccupied with narrative as his guitar playing is far more absentmindedly percussive. Jandek seems entranced with the reverb effects produced by the partially plucked steel acoustic guitar string.

At the beginning of the third number, the woman we presume to be Sheila Smith takes her place behind the drum kit and contributes some off kilter fills in support of “Fishing Blues”. Jandek tosses out lines such as, “Throw your dead bait out again” and “this ain’t no pleasure cruise” which would seem an obvious allegory to the vicissitudes of everyday life, or (then again) the piece might be about a rough day at the ocean.

Smith switches to keyboards as a bassist and drummer take their respective places on stage. Jandek lays down his guitar, commands the microphone, and barks out verse in the manner of a circus ringmaster. What follows is a nuanced and involving improvisation, with Smith contributing some atmospheric noodling and note clusters set against an alternately hyperactive and meditative rhythm bed. Jandek bellows, moans and entreats nobody in particular for unconditional love while stating his determination to …”raise my head above it all”.

“Shadow life” sees The Representative strapping on an electric for one of his signature guitar, bass and drums freak-outs. After a couple minutes of dissonant improvisation, Sheila goads him on with some up close and in your face dirty dancing. Jandek turns in an impressive performance on guitar; letting his expert rhythm section do their share of heavy lifting while Jandek’s shifts his focus to single note work reminiscent of early 60’s garage/surf music run through a wood chipper. Sheila takes the mic and starts throwing down a spoken word rant against her man who has ‘no shadow’. The piece goes 10:33 but feels shorter and grinds down to a cogent and surprisingly coordinated conclusion.

“Where Were You Born” continues with the same instrumental format as “Shadow Life”. However, the improvisations have shifted from a solid rhythmic foundations to something more stuttering and abstract. Smith interrupts her verbalizing intermittently to slink across the stage and get up in The Reps face. Smith is either smitten with The Representative or she’s taunting and teasing him as one would a laboratory rat. Half way through, the rhythm straightens out and Smith’s inquisition continues. “Where were you born, Where are you from. Let’s get married.”  

And so it goes….

It’s hard to predict or imagine where Jandek will land in the pantheon of artists that have strapped on a guitar and displayed their wares on stage, on record and film. As Jandek hurtles into his seventies, he is immune to the paralysis of perfectionism, and oblivious to the opinions and expectations of the listener. Jandek is an archetype; as such, he stands in rare and exclusive company. You can expect only pure undiluted art from Jandek; and like any concentrated mixture or potion, the taste is sometimes bitter and overpowering. But, that doesn’t mean it’s not good for you.


Click here to visit the Corwood Industries catalog >>>






Top Ten Countdown: Greatest Cover Songs # 7 (Joe Cocker – “With A Little Help from My Friends”)

Authored by Dale Nickey:

Number 7

Joe Cocker – With A Little Help From My Friends

Beatle covers were thick on the ground by the close of the 60’s. However, none shook the earth like Cocker’s version of Ringo’s spotlight number from “Sgt. Pepper’s…..” Cocker’s rave up was one of the highlights of the 1969 Woodstock festival and made Cocker a household name in America. Moreover, his banshee screams and indecipherable scatting launched a legion of imitators; including one John Belushi. Cocker’s performance at Woodstock had an intensity that was almost Biblical. Indeed, after his performance the sky opened and a deluge of rain turned the hippy festival of good vibes into an apocalyptic pig pen. And lo… ‘The Summer of Love’ ended.

Top Ten Countdown – Greatest Cover Songs # 8 (The Moody Blues – “Go Now”)

In at number 8

Authored by Dale Nickey:

Go Now – The Moody Blues

The Moody Blues brand is distinguished by the outstanding songwriting contributions of Justin Hayward and John Lodge. However, in February 1965 the original incarnation of the band scored a chart topper in Britain with a cover of “Go Now”. Originally a 1964 American soul pop single by Bessie Banks, “Go Now” petered out at # 40 on the Cashbox chart in America. It was a fairly dreary and unremarkable record until The Moody Blues (with future Wing-man Denny Laine on vocals) turned it into a noir masterpiece. It peaked at number 10 in America and established The Moody Blues in the top tier of British Invasion bands. After the success of “Go Now”, The Moody Blues returned to the cabaret circuit from whence they came until two new recruits (Hayward, Lodge) joined and catapulted the rudderless band to superstardom.

Watch this early video of “Go Now”. Then look at the Queen video for “Bohemian Rhapsody”. Discuss…