I was listening to Bowie and my brain thought of this. I forget how to interweb. Is this right?
(Also, so topical. Such relevance. I don’t know if it’s been done before, so apologies if so, but searching seemed too hard when I could be taking screenshots from low-res youtube clips).
Stevie Jackson from Belle and Sebastian sings ‘Modern Love’ at a Bowie tribute night thing in 2012. <3
This isn’t new (from mid-June), but I love the presentation here; David Byrne and St. Vincent doing ‘Wild Wild Life’ for only the third time (ever - Byrne didn’t play it on any tour prior to this, apparently), integrating their touring horn section into the song in the best way possible. It’s really interesting seeing how the different musicians approach it, too; some try and out-Byrne Byrne, others bring their own quirks in.
also an earlier busking session in the same series (from 2008) by of Montreal, playing ‘Heimdalsgate like a Promethean Curse’; I’m such a sucker for when synth and brass parts are replicated by people singing along (see also this version of ‘an Eluardian Instance’: http://www.youtube.com/watch?v=GyY6vgM3HN0)
of Montreal busking ‘Forecast Fascist Future’ with guitar+flute+violin
Camera Obscura’s latest video (for ‘Break It To You Gently’, my early favourite off Desire Lines) channels the ‘Coffee & TV’ video in cuteness yet somehow manages to be even sadder?
The New Pornographers are one of those bands where it would be pretty cool to be any of the members: Carl, Dan, Neko, Kathryn, John, et al., especially given their myriad harbour other projects.
Alongside the never-ending Summer of Bejar, I’ve been spending a lot of time with Neko Case’s work recently - this version of ‘Prison Girls’, backed by Elvis Costello and Steve Nieve, is amazing. One stunning voice, two instruments (well, three considering Nieve is multi-tasking), brilliant.
[Tom Waits is] home almost all the time, because—unlike other dads—he doesn’t have a day job. Which is why he’s known by the local schools as the guy they can count on whenever they need an adult to do the driving for a field trip.
"I’m down with the field trips." Waits says. "I got the big car. I’m always looking for a nine-passenger opportunity." Recently, he took a group of kids to a guitar factory. It was a small operation, run by music types. "So I’m waiting for somebody to recognize me. OK. I think, someone’s gonna come up and say, ‘You’re that guy, right?’ Now. I’ve been there for, like, two hours. Nothing. Nothing. Now I’m getting pissed. In fact, I’m starting to pose over by the display case. Still waiting, but nothing all day. I get back in the car. I’m a little despondent. I mean, it’s my field. I expect a nod or a wink, but nothing."
Waits takes a pause to stir his coffee.
"So a week later, we go on another field trip. It’s a recycling thing. OK, I’m in. We pull up to the dump and six guys surround my car—’Hey! It’s Tom Waits!’"
He shrugs wearily, like he’s telling the timeworn story of his life.
"Everybody knows me at the dump."
– Elizabeth Gilbert (2002). ‘Play It Like Your Hair’s on Fire’ (interview/feature with Tom Waits). GQ. [republished in Da Capo Best Music Writing 2003, ed. Matt Groening. pp. 89-106.]
I’ve had some radio adventures this last couple of weeks; here’s a musical video about this medium (combining Costello and Springsteen).