MotherShip by Sam Wise ___ PLEASE REFRESH PAGE FOR WEB FONTS

Saturday, 24 June 2017

In The Name Of Tragedy

 


Motörhead

From Inferno, 2004




Were you ever lost
Were you ever young
Were you ever safe little brother
Do you see the sense of the evidence
Are you still part of the struggle
Did you bang your head
Did you go to bed
Does it still feel pretty funky
Lay back and dream
In the death machine
Pity you still think like a monkey

Bring it up bring it down, till you hit the ground
Get a rude attitude, turn the world around
Shall we see shall we disagree
Sing it all in the name of tragedy

Did you ever lie
Ever wonder why
Nobody believed you honey
What a pretty smile
Drive the people wild
Wonder who ran off with the money
Do you ever change
Is it going to rain
Will it bring you pennies from heaven
Do you know the score
Are you waiting for
Anxious for the new Armageddon

Live it up get it down
Till we hit the ground
Cop a rude attitude
From the world around
Shall we see shall we disagree
Sing it all in the name of tragedy

Marbles in your mouth
What's it all about
Do you know the name of the winner
If I was to go
Would you let it show
Life is not a TV dinner
If you dream of me
Will you ever see
Do you want a piece of the action
If I wasn't sure
Would you do it more
Help me to achieve an erection

Get it up get it down
Till we hit the ground
Cop a rude attitude
Turn the world around
Shall we see shall we disagree
All in the name of tragedy

Sing it loud sing it out
Make the people shout
Get it all get it on
Get it sorted out
Be a seer be sincere
Can you really see
All in the name of tragedy




Whorehouse Blues

(Inferno, 2004)





Damage Case

 


Too Late Too Late

From the album No Sleep 'til Hammersmith, 1981




I see that nothin's changed
Insist on playing games
Some waste of time you are
And you're so popular
Well this is it you bitch
I got to make a switch
You find some other john
I know what's goin' on

Your move what do I have to lose
Stalemate, too late, too late

I thought you were for real
Just one more rip-off deal
Don't give me all that crap
I just escaped your trap
You think you see the joke
But you're just chasin' smoke
'Cos now the thrill is gone
I know what's goin' on

[CHORUS]

Misunderstanding me
The way you felt so free
I'm gonna jump the gun
I'm gonna cut an' run
Your credibility
Don't cut no ice with me
You're just a feeble con
I know what's goin' on

[CHORUS]


Written by I. Kilmister, E. Clarke, P. Taylor [Motor Music Ltd.]




Damage Case

Album: Overkill Released: 1979




Hey babe don't act so scared
All I want is some special care
I'm on the run from some institution
All I want's a little consolation
And I can tell by your face
I'm a total disgrace
Let me inside your place
Move over for a Damage Case

Hey babe wait a minute stop
Don't run away don't call the cops
I ain't looking to victimise you
All I want to do is tantalise you
And I can tell by your face
I'm all over the place
I can tell by your face
Got no time for a Damage Case

Hey babe don't turn away
I'm here tomorrow I'm gone today
I don't even care what you think your game is
I don't even care what your name is
And I can tell by your face
You're all over the place
Let me inside your place
Move over for a Damage Case



They Drive By Night




Cracking British thriller


Directed by Arthur B Woods, 1938
 
Starring Emlyn Williams, Ernest Thesiger, Anna Konstam, Allan Jeayes, Ronald Shiner, William Hartnell, Frederick Piper, Bernard Miles

This little-seen film (more or less suppressed by Warner Brothers after they stole the title for a 1940 Humphrey Bogart effort also centred on truck driving) is simply one of the best British thrillers ever made. It has a great cult reputation but is still waiting for a good DVD release (so there's no direct 'Buy' link here). Ironically, the book on which it is based is still in print.

“Shorty” Williams (Emlyn Williams) is being released from prison after doing 18 months for petty theft. He fancies himself hardened by prison, but we soon see his true nature. An execution is to take place that morning. Outside the gates Shorty is asked by one of the crowd if he knew the executed prisoner. He roughly pushes the questioner aside, but is immediately sympathetic when he learns this is the man's brother.

Going back to his old haunts, Shorty asks about a former girlfriend, Alice, who works as a hostess in a dance hall. (Bearing in mind this is 1938, you can imagine what her profession was in the book.) Visiting Alice's room, he finds her still in bed, not just dead, but strangled with a stocking. So now we enter Hitchcock territory, with the innocent man on the run. Instead of suave Robert Donat striding across the Scottish Highlands, however, we have a frightened Shorty who has to rely on fellow working-class types, in the form of long-distance lorry drivers, to make his escape, making his way from Jack's Cafe to Joe's Cafe, etc., to hitch a ride. And all in filthy weather, pelting rain and a gale blowing.

The settings for these scenes are a fascinating view of early British road transport (no motorways, only unlit main roads) and working-class life in the 1930's – imagine starting a heavy lorry with a starting-handle! If you have ever spent a night wandering in a big city you will know there are people you see at night who you never see in the day, and they are here in this film: the drivers, the tramps, the truck-stop hookers. The appearance of the film is great, too, the night-time rain-drenched look has the same quality as that in 'It Always Rains on Sunday' ten years later.

Shorty eventually finds a saviour in Molly, another dancer and friend of Alice who finds herself believing in him after he saves her from being raped (there's still some strong stuff here for 1938). The couple return to London to clear Shorty's name, assuming Alice's killer was someone she met at the dance hall.

The film now changes gear completely as we see Walter Hoover (Ernest Thesiger) pasting newspaper clippings about Alice's murder into a scrapbook and hiding it behind his books on sex and murder (he also has a stash of porn mags), before going to the dance hall. If alarm bells start ringing at this point, just be patient, please.

Walter soon learns that Molly is trying to prove Shorty's innocence. He goes to a pub where he is obviously known as a bit of an intellectual snob and eccentric, and says he knows Shorty is innocent because of his knowledge of psychology. Returning to the dance hall, he waits to follow Molly to Shorty's hide-out. Convincing Shorty and Molly he knows and can trap the real killer he invites them both back to his home, and includes a stray cat and her kittens in the invitation.

Going to freshen up in Hoover's bathroom, Molly finds lipsticks and items of girls' underwear – Hoover's trophies from his crimes. Hoover locks Shorty in his study (where Shorty finds the scrapbook and puts two and two together), then goes to feed the cats with Molly. Thesiger's performance here is superb, from being his usual effete, fussy self with the cats (“The little imps!”), he becomes a truly dangerous psychopath – half-strangling Molly with his bare hands before reaching into a drawer for a stocking. Only Shorty's nick-of-time escape and rescue spares Molly from being another victim.

The film ends as it began, outside a prison where Hoover is to be executed. Despite all he has been through, that it could be him at the end of the rope, Shorty removes his hat as a mark of respect as the execution takes place.

This is an excellent thriller with touches of film noir and even horror in its mix. Director Arthur Woods was seen as a possible successor to Hitchcock (after Mr H crossed the Atlantic), but he was killed serving as a fighter pilot in World War Two. You might wonder why Hoover was a killer (no-one could ever imagine Thesiger as the type to be attracted to floozies), but a possible explanation lies in his first scene with Shorty. He knows Shorty is innocent, he says, because Alice's murder was committed by someone with a more organised mind. In other words, he is proving his intellectual superiority.

The performances and gripping plot are both excellent reasons to see this, but the background of sleazy, greasy-spoon cafes and working class life lift it out of the ordinary 1930's thriller class and make it truly memorable.




Cat by Nighthaze

Tuesday, 20 June 2017

Ain't No Stoppin Us Now!

From the album McFadden & Whitehead, 1979



Ain't No Stoppin Us Now!
We're on the move!
Ain't No Stoppin Us Now!
We've got the groove!

There's been so many things that's held us down
But now it looks like things are finally comin' around
I know we've got, a long long way to go
And where we'll end up, I don't know

But we won't let nothin' hold us back
We're putting our selves together
We're polishing up our act!
If you felt we've been held down before

I know you'll refuse to be held down anymore!
Don't you let nothing, nothing
Stand in your way!
I want ya'll to listen, listen

To every word I say, every word I say!
Ain't No Stoppin Us Now!
We're on the move!
Ain't No Stoppin Us Now!

We've got the groove!
Ain't No Stoppin Us Now!
We're on the move!
Ain't No Stoppin Us Now!

We've got the groove!
I know you know someone that has a negative vow
And if you're trying to make it they only push you aside
They really don't have, no where to go

Ask them where they're going, they don't know
But we won't let nothin' hold us back
We're gonna put our selves together
We're gonna polish up our act!

And if you've ever been held down before
I know you'll refuse to be held down anymore!
Don't you let nothing, nothing
Stand in your way!

I want ya'll to listen, listen
To every word I say, every word I say!
Ain't No Stoppin Us Now!
We're on the move!

Ain't No Stoppin Us Now!
We've got the groove!
Ain't No Stoppin Us Now!
We're on the move!

Ain't No Stoppin Us Now!

We've got the groove! 


Writer/s: JERRY ALLEN COHEN, GENE MCFADDEN, JOHN WHITEHEAD
Publisher: Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc.
 
 
  • Gene McFadden and John Whitehead were songwriters and producers at Philadelphia International Records, where they worked on many of the tracks that helped define the Philadelphia Soul sound. In 1972, they wrote the O'Jays hit "Back Stabbers" with Leon Huff, who co-owned the label with Kenny Gamble. Subsequent hits the pair penned include "I'll Always Love My Mama" by The Intruders (1973) and "Bad Luck" by Harold Melvin.

    By the late '70s, McFadden and Whitehead were hankering to record their own material, and convinced Gamble and Huff to let them try. Exhilarated by the opportunity, they thought, "ain't no stopping us now!," and wrote this motivational song. It was inspired by their personal experience, but resonated with anyone looking forward to a challenge. The song went to #1 on the R&B charts and also found a home on Top-40 radio. It has aged well, and is still played on a variety of radio station formats.
  • McFadden & Whitehead wrote and produced this song with their keyboard player Jerry Cohen. Recorded at Sigma Sound Studios in Philadelphia, other musicians on the track include guitarists Dennis Harris and Bobby Eli, bass player James Williams, and drummer Keith Benson. The backing vocals were done by the female trio of Barbara Ingram, Carla Benson and Evette Benton, who sang on many of the recordings that came out of Sigma. They had various appellations, including The Sweeties, The Philadelphia Angels, and The Girls.
  • This was the only hit for McFadden & Whitehead. They released two more albums: I Heard It In A Love Song (1980) and Movin' On (1983).

    Whitehead's sons Johnny and Kenny had some success in the '90s as part of an R&B group called the Whitehead Brothers.
  • John Whitehead claimed that he made up the lyrics on the spot in the studio, and did his vocal in just one take.
  • On May 11, 2004, Whitehead was shot to death while he was working on a vehicle in Philadelphia. He was 55.

     

Sunday, 18 June 2017

About Fucking Time





 







Motörhead - One More Fucking Time




Source



I Don't Believe A Word

Motörhead


From the album Overnight Sensation, 1996





Don't talk to me, I don't believe a word
Don't try to make me feel alright
All the love in all the world
Is not enough to save my soul tonight
Don't be my friend I'm not a fool
Don't talk of things that we cannot see
When all the ones that sing the blues
Sometimes I think of how it used to be

I have seen the Devil laugh
I have seen God turn his face away
I have nothing left to lose
I have nothing left to say
I have seen the sky turn black
I have seen the seas run dry
I have nothing that is yours
I have nothing now that is not mine

Don't look at me your eyes are cold & hard
Don't wonder that I turn to you
All the grief in all the world
Is not enough to make me comfort you
Don't tell me lies, I'm not a dog,
Don't talk of love it seems to me
All the people that we rob
Sometimes I think of how they used me

I have seen the fires of Hell
I have seen Angels with flaming swords
I have nothing that is mine
I have much that could be yours
I have seen the eye of God
I have heard lies that are true
I have nothing for myself
I have nothing I would give to you

Don't say that word, I know it's only fools
Who do not know their fate is just
All the justice in the world
Is not enough to buy my faith & trust
Don't make that face I won't be pleased
Don't make a sideshow of yourself
All the people we released
Sometimes I think you're someone else

I have been where none have been
In the empty howling rooms
I have everything I need
I have everything you stand to lose
I have seen the diamond worlds
I have seen the shape of space
I have nothing but the world
I have nothing to take its place
I don't believe a word, I don't believe a word ... 
 





Drop Dead Darling

Arriverderci, Baby!

Directed by Ken Hughes, 1966

Based on the novel by Richard Deeming


Tony Curtis with Nancy Kwan 

Tony Curtis with Rosanna Schiaffino as Francesca di Rienzi

Nick is a man who kills his wives for money but meets his match when his new wife, upon learning of this, plans the same for him!



Tony Curtis with Rosanna Schiaffino

Tony Curtis with Anna Quayle as Aunt Miriam

 
Tony Curtis and Fenella Fielding

 
Zsa Zsa Gabor as Gigi

Tony Curtis with Zsa Zsa Gabor

Lionel Jeffries as Parker


Bonus

 Bride of the Gorilla (1951)

Written and directed by Curt Siodmak
Starring Barbara Payton, Lon Chaney Jr. and Raymond Burr


Friday, 16 June 2017

The Phantom Planet

Directed by William Marshall, 1961

Stars: Dean Fredericks, Coleen Gray, Anthony Dexter

Writers: William Telaak (screenplay), Fred De Gorter (screenplay)

After an invisible asteroid draws an astronaut and his ship to its surface, he is miniaturized by the phantom planet's exotic atmosphere.









 







Monday, 5 June 2017

A Certain Smile, A Certain Sadness





Astrud Gilberto and Walter Wanderley - A Certain Smile A Certain Sadness (1966)

 


 


突然段ボール (Totsuzen Danball)- ヤケクソ、デタラメ