“Beautiful Boy (Darling Boy)” is a song written and performed by John Lennon. It was released on the 1980 album Double Fantasy, the last album by Lennon and Ono released before his death.
Paul McCartney has stated this is one of his favourite songs composed by Lennon, and when he appeared on Desert Island Discs in 1982 included it as his favourite in his selection, as did Yoko Ono as the only John Lennon song in 2007.
It was used as the B-side of “Happy Xmas (War Is Over)” to promote the compilation album The John Lennon Collection in November 1982.
Who Do We Think We Are is the seventh studio album by Deep Purple, released in 1973. It was Deep Purple’s last album with singer Ian Gillan until Perfect Strangers in 1984. Who Do We Think We Are was recorded in Rome in July 1972 and Frankfurt in October 1972, using the Rolling Stones Mobile Studio. “Woman from Tokyo”, the first track recorded in July 1972, is about touring Japan for the first time (e.g. the lyric “Fly into the Rising Sun”). The only other track released from the Rome sessions is the out-take “Painted Horse”. The rest of the album was recorded in Frankfurt after more touring (including Japan). Ian Gillan left the band following this album, citing internal tensions widely thought to include a feud with Blackmore. However, in an interview supporting the release of the 1984 Mark II Deep Purple comeback album Perfect Strangers, Gillan stated fatigue and management also had a lot to do with it. We had just come off 18 months of touring, and we’d all had major illnesses at one time or another. Looking back, if they’d have been decent managers, they would have said, ‘All right, stop. I want you to all go on three months’ holiday. I don’t even want you to pick up an instrument.’ But instead they pushed us to complete the album on time. We should have stopped. I think if we did, Deep Purple would have still been around to this day. The last Mark II concert in the 1970s before Ian Gillan and Roger Glover left was in Osaka, Japan on 29 June 1973. The original album artwork has many quoted articles from newspapers. One of them is from Melody Maker July 1972, where Ian Paice says: Deep Purple get piles of passionate letters either violently against or pro the group. The angry ones generally start off “Who do Deep Purple think they are…” Although “Woman from Tokyo” was a hit single, the group – riven with internal strife – struggled to come up with tracks of the quality of their previous three albums (and first live album). Although it hit number 4 in the UK charts and number 15 in the US charts, it did not sell as well as previous albums. Nonetheless, Deep Purple was the best selling artist in the USA in 1973.
Fly into the rising sun,
Faces, smiling everyone
Yeah, she is a whole new tradition
I feel it in my heart
My woman from Tokyo
She makes me see
My woman from Tokyo
She’s so good to me
Talk about her like a Queen
Dancing in a Eastern Dream
Yeah, she makes me feel like a river
That carries me away
My woman from Tokyo
She makes me see
My woman from Tokyo
She’s so good to me
But I’m at home and I just don’t belong …
So far away from the garden we love
She is what moves in the soul of a dove
Soon I shall see just how black was my night
When we’re alone in Her City of light
Rising from the neon gloom
Shining like a crazy moon
Yeah, she turns me on like a fire
I get high
My woman from Tokyo
She makes me see
My woman from Tokyo
She’s so good to me
The EP’s a collection of three new songs packaged with additional remixes by Julia Holter, Motion Sickness Of Time Travel, Teen Daze, Blackbird Blackbird, Botany, Kixnare, Federico Durand, Geskia and Slow Magic. It’s limited to three 3inch CDs or download and the artwork comes courtesy of Rachel Evans of Motion Sickness of Time Travel (Spectrum Spools).
album mastered by Miles Whittaker (Demdike Stare/Pendle Coven)
For Like Rats, Mark Kozelek offers a stark, devastating version of Yes’s 1978 ballad “Onward,” the video for which we’ve got here, now. The clip — “directed” by Kozelek — appears to be little more than a iPhone recording of a harbor, across which a ship slowly makes its way. That’s it; there’s no narrative, no editing, even. But it’s an effective piece of video when paired with the hugely beautiful song. [Source]
Since their incarnation in 2010, Toronto-based quartet Decades has steadily shed the no-frills garage rock that marked their beginnings, embracing a pulsing, hypnotic tone that dilates into the ethereal. Anchored by the elegiac vocals of frontman Mike Kaminski, Decades is crafting a singular brand of shoegaze-inflected rock that recalls the likes of ’80s and ’90s Brit-pop. After a turn playing at Canada’s CMW festival last week alongside Savages and Suuns, Decades’ self-titled debut album is slated for release on April 30 (via White Girl Records). Their follow-up to their first music video release (the charged, synth-driven “Tonight Again“) is the video for “In Sequins,” a haunting lament on a love seemingly out of grasp, which we’re thrilled to premiere today. [Source]
Actor-director-writer-artist James Franco and musician-artist Tim O’Keefe have released a new video for their musical collaboration, called Daddy. The clip for “Love in the Old Days (Ted James 1999 Remix)” premiered on Interview today.
Franco directed the black magic-themed video, which features artists Kenneth Anger and Brian Butler (Technicolor Skull). Franco is a longtime fan of Anger and has collaborated with him on performance pieces in the past. In the clip, Anger officiates an occult wedding ceremony at a strip club while playing a theremin. Butler also appears in the video and was the creative director for the shoot.
“Kenneth Anger has been an influence on me since I was first exposed to ‘Kustom Kar Kommandoes’ and ‘Scorpio Rising,’ but especially ‘Scorpio Rising,'” explains Franco. “When I went to NYU for film, I was always looking for ways to Anger up my films. My first one in particular, ‘The Feast of Stephen’ owes a lot to Anger, the way his camera transformed a gang of real 1960 bikers into homoerotic gods. In other films and projects I loved the way he took celebrity and the occult and fused them in [Sergei] Eisensteinian juxtapositions to achieve a greater, spiritual/aesthetic significance.”
“I was asked to do project about a marriage,” Franco continues, describing the footage used in the video. “I wanted to do two marriages and call it ‘The Marriage of Heaven and Hell after Blake.’ I could think of no one better to preside over the marriage of Hell than Anger. He is a force. A fusion of art, pop-culture, magik and sex. He is the voyeur-king.”
O’Keefe edited the video along with Irene Su. Though O’Keefe has edited several other projects for Franco, this marks his first direct involvement in the video content for Daddy.
“James is constantly filming and building an archive of raw visual material,” said O’Keefe. “This collection of clips provides Daddy with a plethora of footage to use in the creation of our videos. It allows us to develop interesting narratives around our songs, and offers us the opportunity to further investigate the relationship between sound and image.”
For his remix, producer Ted James honed in on the vocals in the original version. He captured a few syllables of Franco’s voice at an 8-bit resolution and slowed down the playback, transforming Franco’s clean vocals into the main bass line for the track.
“It was the key element in my finding the tempo and format for the remix,” James said. Plus, it was fucking creepy. It seemed to juxtapose the original version in a way that makes its sincere sentiment seem a little less innocent.”
“Love in the Old Days (Ted James 1999 Remix)” appears on Daddy’s PVD Remixes EP, which came out earlier this year and is available as a free download via Daddy’s Facebook page: http://www.facebook.com/wearedaddy. The original version of “Love in the Old Days” is on the duo’s debut recording, MotorCity, which came out last fall.
Like many bands before them, Franco and O’Keefe met as students in art school. They both graduated from Rhode Island School of Design in Providence in May 2012. While in school, they collaborated on many projects, including Franco’s 2011 “Endless Idaho” installation at the Gagosian Gallery in Los Angeles, before forming Daddy in late 2011. They are currently working on their full-length debut.
