B. B. Cunningham Jr​. - I'm so happy Jesus called you in time to NEVER hear this Let it all hang out by DangerousMinds' music critic marc campbell: "snorting blow, Jack Daniels...when we finished, I celebrated with more blow"

B.B. Cunningham Jr. of The Hombres has died

10.15.2012

Musician B.B. (Blake Baker) Cunningham Jr. was shot and killed Sunday in Memphis.

Cunningham was a member of Jerry Lee Lewis’s band, and the vocalist and keyboard player for 1960s rockers The Hombres.

The Hombres’s 1967 hit “Let It All Hang Out” has particular significance for me, because my band The Nails, covered it on our debut album, and it was released as our first single for RCA records.

I grew up with “Let It All Hang Out” and always loved its indelible hook and surreal lyrics. Written and sung by Cunningham, the tune clearly pokes fun at the music of Bob Dylan, and Cunningham’s sly vocals really makes it work.

His laid back drawl, with its southern twang delivers the Dylanesque lyrics with just the right amount of tongue-in-cheekiness to be funny, without being stupid.

Far better than your average novelty song, “Let It All Hang Out” has stood the test of time, endured and inspired guys like me to attempt to replicate its punk charm.

But nobody will ever nail it as well as B.B. Cunningham.

Cunningham was shot while working as security guard at an apartment complex on Memphis’ southeast side.

He was 70 years old.

Posted by Marc Campbell

saltchunkmary • 6 years ago

Mark! Tony H from Taos here, presently elsewhere at the moment -I love seeing you in all your permutations. Great cover. Hope'n all is well wherever you are.

@MarcCampbellll @DangerMindsBlog @RichardMetzger Plagiarized These

dirtbag's Secret YouTube Stash HERE

mindexpands

Published on Aug 9, 2010

Claudine Chirac - Alle Meine Entelein (blue panties dance 1984) PLUS Grauzone - Eisbear

Claudine Chirac, former member of Swiss No wave band Grauzone, sings and does blue panties dance in 1984 solo video Alle Meine Entelein

Claudine Chirac

 

Alle Meine Entelein

 

Blue panties dance

*please don’t steal this, DangerousMinds - it’s been up for 10 years, and you never found it.

Please just walk away from this one.

Next one’s yours!

I'm kidding, and then I start thinking,

"Ya know, I bet that Hillbilly-Schwanzlutscher already stole it, so he didn't have to pay his hacks $79 cash."

And, sure enough, I looked it up, and his NDW crew got all the Grauzone, BUT none of the gründungsmitglieder. 

For reasons that are somewhat unclear to me, my art teacher has played that today completely disconnected and then I had the ear worm

David Lynch, Devo, and James Chance had a honking baby

GRAUZONE - EISBAER

There is no life in the wrong - Richard Metzger

The video shows the attempt to escape the dreariness of the existence a polar bear is doomed to failure - his flight is a circular motion which will be without salvation.

The flight to seemingly paradisaical states ('untouched Arctic'), city as a place of culture and communication, are shown as illusory utopias - Richard Metzger

 *Bitte stehlen Sie das nicht, DangerousMinds - es ist seit 10 Jahren in Betrieb und Sie haben es nie gefunden. Bitte geh einfach von diesem weg. Nächste ist deins Ich mache Witze und dann fange ich an zu denken: Weißt du, ich wette, Hillbilly-Schwanzlutscher hat es schon gestohlen, also musste er seine Hacks nicht $79 bar, bezahlen, natürlich, habe ich nachgeschlagen, und seine NDW Besatzung bekam die ganze Grauzone, ABER keine der Gründungsmitglieder.

Watch Bonjour Tristesse

📷 All my ducklings Claudine Chirac (Grauzone) Alle Meine Entelein - Blue panty dance (update) ... https://t.co/B8LzwWptKk

— mrjyn (@mrjyn) January 8, 2019

 

Gray area was a Swiss Music Group early 1980 Neue Deutsche Welle (NDW). With their greatest hit, Polar Bear, the group succeeded in entering the Austrian and German Charts. Years. She was one of the pioneers.

The end of 1979 left Marco Repetto (drums) and GT (bass), the punk band Glueams to get together with Martin Eicher (guitar, vocals), a new musical focus. Martin / Tinu had Glueams already in their single mental supported. In early March 1980 she gave her first concert as a gray area in the club Spex in Bern. Martin’s brother Stephan Eicher (Guitar) and Claudine Chirac (saxophone supplemented), the group temporarily, with live performances and recordings.

Gray area has been notified by the two pieces Polar Bear and SpaceWhich they recorded the LP in 1980 published the “Swiss Wave – The Album”. Polar Bear met the lifestyle of the time and got radio airplay in Austria, Germany and Switzerland. The song was released as a single and reached number 6 in the Austrian and German 12th place in the charts.

The group refused, however, the commercial requirements and concentrated on film and studio work. In the winter of 1981 they returned to the Sunrise studios where the songs Moscow, Dance and I love them were included. In July and August 1981 Martin and Stephan Eicher went again with Marco Repetto to Sunrise studio and recorded their first and also last studio album. In February 1982, Ingrid Berney joined gray area in order to support Martin and Stephan Eicher live. According to a recent studio session, in which I and Thou added, was parted ways the musicians. Less than ten shows, four singles and one album the group broke up 1982nd

GT and Marco Repetto regrouped with former Glueams guitarist and drummer Dominique Martin Pavlinec Uldry, first as a “Missing Link”, then under the name “Eiger North Face.” GT then switched to the Futurism style similar action group “Red Catholic Orthodox Jewish Chorus” to the performance artist Edy Marconi, in the temporarily played Marco Repetto. Later called the group “I Suonatori. Stephan Eicher launched a successful solo career. Martin Eicher 1988 published the EP “Spellbound Lovers,” a flashy, but unnoticed work. Marco Repetto worked up from 1989 in Techno– And AmbientScene as DJ and musicians (e.g. remixing mittageisen v2) a name.

December Formed in 1978 in Bern, the punk band Glueams. After some changes Eicher 1979 met Martin as a guitarist and a few months to later by his brother Stephen, both have music experience with the Noise Boys Project collected. You name around in Gray area and tried to expand their music concept multimedia: They complement their instruments with synthesizers, light effects and super-8 film projections. The editor of Punk magazine in Zurich “No Fun” Urs Staiger is attentively at a gig on the band and brings Gray area in the Studio to record for his Swiss Wave Sampler two pieces: “Space” and “Special”. The latter is a large radio and Diskothekenhit in Switzerland.

1981 suggests the label Welt-Rekord/EMI among the Swiss and by now better Promotion and sales reached the single “Special” a Top Ten ranking in Germany. But most of all the missing TV appearances – the band consistently refused – and ungewöhniche Live concerts without their hits, but with much Synthiesizer improvisations were not conducive to the success of gray areas: “If want to hear a polar bear, he should buy the record “ so the brothers Eicher.

End of 1981 appeared in his own eponymous LP recorded Sunrise Studio (without the “Special”) And by the departure of G.T. and Marco Repetto gray area also shrank in the meantime the duo and appeared somewhat below. Then in 1982 with the single “Dream with me” one last musical signs of life of the band. located on the Maxi next to the title track, a newly recorded version of “Furious Glass “.

Defiance and perhaps because of its modest instrumentation with drums, Synth and guitar on this record were timeless electronic Beads as “Furious jar or “The way Couple “. Martin Eicher runs after the dissolution 1982 retired from the music business, while his brother Stephan has since released numerous solo albums.

All in all they have, even if they wanted it never to the “Special” NDW co-written a great piece, the cold synthesizerlastige Music with the worst text then hit exactly the zeitgeist. Also today they are reduced to this song.

(C) & (P) Julien Skye​ Daniela Quin​

*please don’t steal this yet, DangerousMinds - it’s been up for 10 years, and you never found it.

Please just walk away from this one.

Next one’s yours!

I was kidding, then i thought, ya know, i bet that hillbilly cocksucker has already stolen it, and ... WOULDN'T YOU KNOW IT!

*Grauzone: Classic early 80s Swiss New Wave band 

LET'S READ METZGER DANCE AROUND THE POST ABOVE, SHOWING HIS KNOWLEDGE, BUT NOT HIS ATTRIBUTION, TO ALL-THINGS “Neue Deutsche Welle”

Grauzone: The ice cold sounds of a classic 80s Swiss New Wave group

(German for “grey area”) was a Swiss group formed in 1979 who played ten concerts and recorded four singles and one album before splitting up at the end of 1982. They are most famous for their amazing 1981 song “Eisbär” (“Polar Bear”). Ladytron samples the song on “Fighting In Built Up Areas” and it was also covered by French group Nouvelle Vague.

Grauzone would be considered a classic band of the “Neue Deutsche Welle” era. They also left behind some music videos.

12.15.2010

GRAUZONE - EISBAER - auch Ex-Grauzone Saxophon, Claudine Chirac singen und ihr blaues Höschen tanzen in ihrem https://youtu.be/CFYxdzLKGxI 1984-Video Alle meine Entelein (David Lynch, Devo, James Chance und Wall of Voodoo) hatten ein saxaphonhupendes baby. "Aus Gründen, die mir etwas unklar sind, hat mein Kunstlehrer das heute völlig getrennt und dann hatte ich den Ohrwurm. Das Lied ist fantastisch / Aus Gründen, meine Kunstlehrer "Das Lied ist genial."

Dieses Musikvideo wurde im Zusammenhang mit der Veröffentlichung der Doppel-CD "GRAUZONE 1980-1982 REMASTERED" produziert. Das Video enthält den Song in seiner ursprünglichen Länge (4'46 "), die Einzelversion ist etwa 30 Sekunden kürzer. Es gibt auch eine englischsprachige Version (Eisbär) des Songs, die zuerst auf der Doppel-CD veröffentlicht wurde. GRAUZONE 1980-1982 REMASTERED". Das Video zeigt, dass der Versuch, der Trostlosigkeit seines Daseins eines Eisbären zu entgehen, zum Scheitern verurteilt ist - sein Flug ist eine kreisförmige Bewegung, die wird ohne Erlösung sein. Die Flucht in scheinbar paradiesische Zustände ("unberührte Arktis", die Stadt als Ort der Kultur und Kommunikation) wird als illusionäre Utopie dargestellt. "Es gibt kein falsches Leben"  

Biggi Wimmer

David Bowie Cracked Actor (55 mins.)

Cracked Actor is a 1975 television documentary film about the musician David Bowie, made by Alan Yentob for the BBC's Omnibus strand. It was first shown on BBC1 on 26 January 1975.

It was filmed in 1974 when Bowie was struggling with cocaine addiction, and the documentary has become notorious for showing his fragile mental state during this period.

The documentary depicts Bowie on tour in Los Angeles, using a mixture of documentary sequences filmed in limousines and hotels, and concert footage. Most of the concert footage was taken from a show at the Los Angeles Universal Amphitheatre on 2 September 1974. There were also excerpts from D. A. Pennebaker's concert film Ziggy Stardust and the Spiders from Mars, which had been shot at London's Hammersmith Odeon on 3 July 1973, as well as a few other performances from the tour.

Cracked Actor is notable for being a source for footage of Bowie's ambitious Diamond Dogs Tour.

Today I’m listening to David Bowie’s first 8 albums in chronological order, and thinking about one my all time musical heroes. 

When I heard he’d died, I was shocked, but not surprised.  There were rumors of ill health, and he hadn’t looked well in recent videos.  But still…

In the 1970’s, I was obsessed with David Bowie.  I first heard him when a local L.A. radio station broadcast his October, 1972 Santa Monica Civic concert.  I ran out and bought the Ziggy Stardust album, which I LOVED, and then the reissues of his second album (Space Oddity), Hunky Dory, and my all time favorite, The Man Who Sold The World.  The records blew me away like little else; so different, so original, such great songs, high concept but accessible. I played them endlessly.  Soon there were bootlegs, and I bought those too.

One of my most prized possessions: the UK “Man Who Sold The World” album, signed by Bowie, Mick Ronson and Tony Visconti

I was already a serious record collector, but enlarged my focus from finding every Jimi Hendrix record in the world to include Bowie rarities too.  Record collecting was far different (and exponentially more difficult) in those pre-internet days.  There were no discographies of rock artists.  You depended on other collectors, friends of friends, pen-pals in foreign countries (found through ads in Melody Maker), old magazines, people who worked in record stores.  Anyone who might know more than you did.

In Los Angeles we were fortunate to have Tower Records and their incredible import section, and a monthly record swap meet in the parking lot of Capitol Records.  In the early 70’s I was the only person in L.A. seriously collecting Bowie and Hendrix records, so things found their way to me.  Somebody told me about a guy in Long Beach who had the legendary UK pressing of The Man Who Sold The World with Bowie wearing a dress on the cover, something I’d never seen.  I tracked him down and paid him the outrageous sum of $25 for his mint copy of this ultra rarity, and a mint copy of Bowie’s first album on Deram.  People at the swap meet though I was out of my mind–$25 for two David Bowie records!

Moby Disc Records would let you reserve import LP’s before they were released, if you put down a $1.00 deposit.  My brother and I did so for Aladdin Sane, and when I called him a few weeks later from a camping trip and he told me Moby had our albums, I left the pay phone, went and packed up my tent, and headed home.  I couldn’t wait another day!

We made sure to see Bowie when he came to L.A. in March 1973, at both the Long Beach Arena and Hollywood Palladium.  Quite simply the best concerts I’ve ever seen, by anyone, to this day.  He and the Spiders From Mars, especially the great Mick Ronson, were astounding.

I started buying rare Bowie records from UK auction lists in Alan Betrock’s pioneering record collector zine, The Rock Marketplace (the only place collectors could buy and sell records via auction and set-sale lists.)  I searched for Bowie’s earliest efforts, non-album singles on Pye and Deram.  I placed classified ads in Melody Maker looking for rare singles.

In 1974 my friend Harvey Kubernik, who wrote for Melody Maker, called to tell me Bowie and his band were rehearsing at that very moment at Studio Instrument Rentals in Hollywood.  I rushed there and sat outside for five or six hours until Bowie’s bodyguard, Stuart George, emerged.  I shyly asked him to sign a photo I had of him with Bowie, and we began to talk.  I showed him the dress cover Man Who Sold The World, which he’d never seen, and he invited me inside.  He brought David out to meet me, and he graciously signed it “For Jeff, with my very best wishes, Bowie ’74.”  I couldn’t believe it.  I’d met my hero.

Later that year, when the BBC made a documentary about Bowie, they wanted to interview a big fan.  MainMan, Bowie’s management company, sent them to me.  And today, on YouTube, you can see my 18 year old self talking about Ziggy in the Cracked Actor BBC Special (I’m 40 minutes and 30 seconds into the show.)

Other versions of “The Man Who Sold The World”, as pictured in my book “101 Essential Rock Records”

 

During preparations for the BBC doc, I got to try on Bowie’s cape (me on the right!)

In 1975, I made my first trip to Europe, and on the very first day scored a copy of Bowie’s first record, “Liza Jane” by Davie Jones and The Kingbees, for 20 pounds at London’s Vintage Record Center. That was a LOT of money to pay for a single in 1975, but I was floating on air.  That summer I spent every cent I had at record stores and flea markets in the UK, France, Italy, Germany, Switzerland and Holland.

I loved Aladdin Sane and Pin Ups, and Diamond Dogs too, but Young Americans threw me for a loop. I loved rock music.  People who liked rock hated disco, and Bowie had gone disco.  But I was back soon enough, with Station to Station, Low and Heroes.

Harvey continued to give me hot tips when Bowie was recording or staying in L.A., and I would stake him out.  I’d begun a Bowie discography, and along with getting autographs, there was no better source of information than the man himself.  I met him two or three more times, and he was always very kind–signing things, confirming his participation in singles like “I Pity The Fool” by The Manish Boys, and chatting for a few minutes.  In 1975, he recorded Station to Station at Cherokee Studios in Hollywood, and on more than one occasion I waited outside until 2 or 3 AM, when he’d emerge.  As always, he couldn’t have been nicer.

Another thing people tend to forget about Bowie.  He deserves a great deal of credit for popularizing Iggy Pop and the Stooges, and Lou Reed and the Velvet Underground.  Bowie’s passion for Iggy was the impetus for new management and record contracts, the Stooges’ Raw Power, and a lot of ensuing publicity. His constant championing of the Velvets, cover versions of their songs and co-production (with Ronson) of Reed’s Transformer album brought the band a great deal of publicity, and Lou his first and biggest hit, “Walk on the Wild Side.”

While many love Bowie’s later albums, my interest began to drop off by the time of Lodger. Though I would check in with his albums from time to time, I found his post Spiders/Ronson and post Fripp/Eno albums far less compelling than his earlier work.

But I’ve never stopped listening to (and loving) his classic albums; and have always had the utmost respect for him as a continunally evolving, boundary pushing artist.  So his death yesterday hit me hard.  As I was processing it, I realized, yes, it’s very sad.  But we are lucky indeed to have so much great music (and filmed performances) to savor for years to come.

So blast  Ziggy, or Aladdin Sane, or Hunky Dory.  Or watch the Ziggy farewell concert, or sample Black Star, released only two days before his death.  Few will leave as enduring a legacy as David Bowie. Let’s make the most of it.

Jeff Gold

January 11, 2016

Also see our great friend Jon Savage’s Bowie tribute