- KISS GOD GAVE ROCK AND ROLL TO YOU IN 1991 VIDEO SERIES
- KISS GOD GAVE ROCK AND ROLL TO YOU IN 1991 VIDEO FREE
That was her first album, Exile in Guyville, and it upended all those old cliches. So she decided to write a song-by-song feminist response to the Stones’ Exile on Main St. Liz Phair was in love with that ideal too – and the Stones – but understandably she had a problem with a lot of the lyrics. Liz Phair – Johnny Sunshine (1993)Ī lot of these songs are about the self-mythologising of rock’n’roll, something the Rolling Stones were pretty adept at.
KISS GOD GAVE ROCK AND ROLL TO YOU IN 1991 VIDEO SERIES
From about the three-minute mark she completely loses it – she sounds as though she’s talking in tongues, then from 3.45 she unleashes a series of heart-stopping shrieks. It gets louder the longer it goes as more elements are added to the mix but at the centre of it is Bush’s voice. It’s all big tribal drumming and stacked vocals, arranged for maximum impact. This song is about moving on – the idea is that we’re all just specks in the cosmos. Hounds of Love, the album that it’s from, is really special to me it seems to keep reappearing at key times.
KISS GOD GAVE ROCK AND ROLL TO YOU IN 1991 VIDEO FREE
This is similar to Free Money in that what makes it leap out is Bush’s wild performance. It starts slow, with just Smith and Richard Sohl on piano, then the band shifts through the gears until they’re at maximum horsepower. She sounds as though she’s clawing out of your speakers.
What really gets it over is the intensity of her performance.
Smith embodied both in this song about escaping the prison of poverty. Another key concept of rock’n’roll is transcendence, the conceit that it can take us outside ourselves and so set us free. Lenny Kaye, guitarist for the Patti Smith group and compiler of the great 60s anthology Nuggets, once said garage music reminded people of why they wanted to rock’n’roll in the first place, which was pure desire. These days I identify more with the object of Conway’s disdain in ways I’d rather not – I know I’m addicted to attention and, as a music writer, I’ve been wallowing in a swamp of trivia for most of my adult life. It’s a post-punk song and a lot of punk spoke to people who had been marginalised in some way. I was a tiny kid and got bullied a fair bit in the playground, and I think I just related to Deborah Conway’s rage and hurt more than anything. At that time I knew nothing about women, let alone feminism, and I didn’t really understand this song but connected with it anyway. After Johnny’s solo – one of very few solos by the guitarist – there’s a bridge where he grabs life by the throat: he decides he’s going to accept himself instead. In the first half, he wishes he was someone else. Joey’s vocal will put a lump in your throat. This is one of his saddest but it’s also uplifting. It’s a Dee Dee Ramone song he wrote most of the band’s really dark stuff. The Ramones – Something to Believe In (1986)įor whatever reason, the title track of Something to Believe In isn’t on Spotify, so you’ll have to go to YouTube for it. What follows is a playlist of 10 songs – most sublime, at least one ridiculous – that signposted that journey. Something to Believe In was the obvious title, music being that something that had kept me sane, kept me going and, at times, kept me alive.
Over the next two months, a music memoir poured out: the first 30,000 words in three weeks.
I’d written a few pieces that began to sketch out a story of a life on the margins of music but from the perspective of a fan, a wannabe, rather than a player.
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