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December 7, 2018

The Sex Pistols Danced Two - Something Else - Silly Thing (Legs & Co TOTP)




The Sex Pistols Danced Two - Something Else - Silly Thing (Legs & Co TOTP)

Legs & Co - Something Else - Sex Pistols (9th Mar 1979)

Legs & Co Dance Something Else - Sex Pistols
Top of The Pops broadcast Friday 9th March 1979, hosted by David (Kid) Jensen
Dancers - Sue Menhenick, Patti Hammond, Lulu Cartwright, Rosie Hetherington, Gill Clarke and Pauline Peters

Legs and Co dance Sex Pistols - Silly Thing (Top Of The Pops
1979)
A post-Johnny Rotten song from the remaining two Sex Pistols (Steve Jones and Paul Cook) released in 1979, and recorded for the Great Rock 'N' Roll Swindle film.
The vocals on this version are by Steve Jones. This is a rather good performance of the single by Legs & Co on TOTP, refreshingly free of choreographer Flick Colby's usual "too literal" interpretations.
Sorry about the qual - 2nd gen VHS!.  Peter Powell presents.
Sex Pistols - Silly Thing

Legs & Co 1977 playlist

Legs & Co - My Way - Elvis Presley (15th Dec 1977)
Legs & Co Dancing to My Way by Elvis Presley on Top of The Pops, broadcast Thursday 15th December 1977, hosted by Elton John.

Dancers Sue Menhenick, Lulu Cartwright, Pauline Peters, Gill Clarke and Rosie Hetherington
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Nick Tosches 2007 Playlist

Living With Music: Nick Tosches 2007 Playlist

Photograph of Nick Tosches 
Nick Tosches (AP Photo/Gino Domenico)

“Living With Music,” a playlist of songs from a writer or some other kind of book-world personage.
This week: Nick Tosches, whose books include
“The Devil and Sonny Liston,” “Hellfire,” a biography of Jerry Lee Lewis, and “Dino: Living High in the Dirty Business of Dreams,” a biography of Dean Martin

Nick Tosches’s October 2007 Playlist:

In no particular order and always subject to change … i linked 1 video ... i'm tired
1) Black Night, by Charles Brown (Aladdin, 1950)
2) Sloppy Drunk, by Chicago Jimmy Rogers (Chess, 1954)
3) First I Look at the Purse, by the Contours (Gordy, 1965)
4) Ain’t That a Kick in the Head, by Dean Martin (Capitol, 1960)
5) My Buddy, by Dr. John (Warner Bros., 1989)
6) Sally, Go ’Round the Roses, by the Jaynetts (Tuff, 1963)
7) Drinkin’ Wine, Spo-Dee-O-Dee, by Jerry Lee Lewis (Mercury, 1972)
8) Gambling Bar Room Blues, by Jimmie Rodgers (Victor, 1932)
9) Knockin’ Myself Out, by Lil Green (Bluebird, 1941)
10) Just a Gigolo / I Ain’t Got Nobody, by Louis Prima (Capitol, 1956)
11) Thursday, by Morphine (Rykodisc, 1993)
12) Who Do You Trust?, by Muddy Waters (Blue Sky, 1978)
13) Sea of Love, by Phil Phillips (Khoury’s, 1959)
14) Venus, by Shocking Blue (Colossus, 1969)
15) Shop Around, by Smokey Robinson and the Miracles (Tamla, 1960)
16) Oops (Oh My), by Tweet (Elektra, 2002)
17) Jumpin’ Jack Flash, by the Rolling Stones (London, 1968)
18) Oh No, Not You Again, by the Rolling Stones (Virgin, 2005)
19) Leopard-Skin Pill-Box Hat, by Bob Dylan (Columbia, 1966)
20) (Love Is Like a) Heat Wave, by Martha and the Vandellas (Gordy, 1963)
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The gospel according to Jerry Lee Lewis – classic Nick Tosches 1979 interview


The gospel according to Jerry Lee Lewis – classic Nick Tosches 1979 interview originally published in Country Music in October 1979


‘I could take that there tape-recorder and shove it up your …’

 
Jerry Lee Lewis performs at the Rainbow theatre in London, England in December 1978. Photograph: David Redfern/Redferns
Dressed like a side-street gambler from the days when chrome was chrome, Jerry Lee Lewis sits in the dressing room of the Palomino Club, holding loosely in his lap a half-drained quart of Seagram’s like the unglowing sceptre of an ancient fading kingship.
He looks mean. But not as mean as last night, when he straightened out that chump in the audience with one fast, cruel line; when he threw that swaggering record-company lifer from his dressing room; when, at night’s end, he dared any man present to lift a hand against him. I tried to talk to him last night, but he was in too dark a mood. “What’s the weather gonna be like tomorrow in China?” he asked me. I told him I didn’t know, didn’t care; and he snarled his disgust. “Where do you wanna be buried?” he asked me. “By the ocean,” I answered. That was better. He nodded his indulgent approval. And so it went last night. Toward the end, he would talk of nothing but the Bible. At the end, he would talk of nothing at all.
He looks mean. But not as mean as last night, when he straightened out that chump in the audience with one fast, cruel line; when he threw that swaggering record-company lifer from his dressing room; when, at night’s end, he dared any man present to lift a hand against him. I tried to talk to him last night, but he was in too dark a mood. “What’s the weather gonna be like tomorrow in China?” he asked me. I told him I didn’t know, didn’t care; and he snarled his disgust. “Where do you wanna be buried?” he asked me. “By the ocean,” I answered. That was better. He nodded his indulgent approval. And so it went last night. Toward the end, he would talk of nothing but the Bible. At the end, he would talk of nothing at all.
But, yes, tonight the Killer is in a better mood. He hasn’t thrown anyone out of his dressing room, nor threatened anyone’s life, nor cussed anyone too badly. Not yet, anyway. He looks at the tape-recorder I have set before him the way a man might look at a snake, trying to decide if it’s venomous. He takes one of my cigarettes and starts smoking it. I say something:

NT: Yesterday we were talking about the Bible, and you said that your favourite book was Revelations.
JLL: That isn’t what I said. I said from Genesis to Revelation. Take it as a whole. It’d be hard to choose a favourite book in the Bible. Lord, there’s so many great books. I studied it, studied it all my life. Greatest history book in the world, if you take it word for word, from Genesis to Revelation. All the way. Don’t leave nothin’ behind. Don’t skip over here and skip back over there, take what you want, leave what you want. That ain’t the way God intended it to be read.
NT: Haven’t you ever run across anything in the Bible that you can’t understand?
JLL: You know why you don’t understand it? Cuz you’re lookin’ for an easy way out. Now, if you can show me somethin’ in there that’ll show me how to get outta this thing without burnin’ my ass off in hell, I wanna know where it’s at. You and me, we’re gonna burn in hell. We’re in trouble. We’re sinners, goin’ to hell.
NT: I ain’t so sure about that. You really think we’re goin’ to hell?
JLL: Straight as a gourd. I think we’ve been extended long enough. We’ve been smiled upon quite a bit. The time is near.
NT: How near, Killer?
JLL: Well, nearer than you think. We don’t have the promise of the next breath. We’re goin’ to hell. Fire and brimstone. The fire never dies, the burnin’ never dies, the fire never quenches for the weeping, wailing, gnashing of teeth. Yessir, goin’ to hell. The Bible tells us so.
NT: Ain’t nobody going to heaven?
JLL: Very few, very few. It’s a hard place to get to, son. Can’t get there through the Palomino Club, that’s for sure. Church can’t get you to heaven. Religion can’t get you to heaven. Ain’t no such thing as religion anyway. The Bible never speaks of religion; it speaks of salvation.
NT: Next week, Jackson Browne and a bunch of other singers are going to perform at an anti-nuclear rally, nearby in San Luis Obispo. How do you feel about people who combine music and politics?
JLL: Bunch of damn idiots.
NT: So you don’t figure on playing at any anti-nuke shows in the near future.
JLL: To hell with ’em all! Blow ’em all up! Blow everybody clear to hell! Get it over quick! Just don’t kill no alligators in Louisiana. Leave them alone. I married a few of ’em.
NT: Did you keep the hides?
JLL: They damn near got my hide.
NT: Have you ever thought of producing your own records?
JLL: Every record I ever done, I produced. All them cats ever did was follow me around in the studio, try to keep up with me. Who would you vote for, me or Linda Ronstadt?
NT: I never voted in my life. Never will.
JLL: Well, son, what if you had to vote?
NT: I wouldn’t vote for either of you fools, that’s for sure. What could force me to vote?
JLL: Cat with a hide-whip standin’ over ya, whuppin’ ya on the butt with it.
NT: Hell, I’d vote for him.
JLL: That’s sharp. You’d vote for me, then.
NT: Anything you say, Killer. Somebody was telling me the other day about your pushing a piano into the ocean.
JLL: You’re damn right I did. That was in Charleston, South Carolina, a while back. I pushed it outta the auditorium. I pushed it down the street. I pushed it down the pier. Pushed it right into the ocean. Don’t rightly recall why I did it. The piano musta been no good. I just started pushin’ it and it built up steam. Conway Twitty was standin’ there starin’. I don’t think they ever redeemed that piano. I think Jaws got a hold of it.
JLL: That’s my goddam business.
NT: … Do you know any more about women now than you did the first time you got married?
JLL: A skirt’s a skirt.
NT: Is that knowledge gonna lead to a sixth marriage?
JLL: I don’t know, son. Maybe God intends for me to live out my life alone.
NT: Have you ever thought of getting into real acting?
JLL: I don’t want no part of it. I hate it. Actors work hard at their job, like I do. But I never did care about actin’. That’s somethin’ I just never did wanna get into. There’s been some great actors, though. Humphrey Bogart, Charles Laughton, Robert Mitchum. I like watchin’ them old movies. I’d hate to take that part of my life away. I like to sit back and watch them suckers, enjoy ’em, knowin’ I don’t have to be in ’em. Take them guys, Abbott and Costello. They were sharp, very sharp. Singin’, dancin’, duckin’ under water, talkin’, or what; it made no difference. They had it, boy, they truly did.
NT: Do you think you might have missed out on much if you had remained down in Ferriday, Louisiana?
JLL: I really don’t know. I never thought about it, Killer. Hand me back my whiskey. Buncha damn drunkards around here. Y’know, one of them things (points to the recorder) can get a man buried. Could get a man killed. A man be sayin’ somethin’ drinkin’, somebody take that tape and use it against him. Get ’im killed. (Sings:) I’ll be here, son, when you’re gone… Know what I think’s your problem? You want your cake and eat it, too.
NT: Sure, why not?
JLL: Damn! You just pissin’ against the wind. You gonna live, you gonna die. You got a soul, you ain’t no animal. And that soul’s goin’ to heaven or it’s goin’ to hell. There’s just two places to go. On Judgment Day, you and I are gonna have to give account for the deeds that we’ve done, the sins that we’ve –
NT: Why are you so obsessed with dyin’ and goin’ to hell. Jerry?
JLL: I’m a sinner, I know it. Soon you and me are gonna have to reckon with the chilling hands of death.
NT: Why the hell are we going to hell?
JLL: Because Satan has power next to God. We ain’t loyal to God, we must be loyal to Satan. Got to be loyal 24 hours a day, brother. There ain’t no in-between. Temptation is the lowest of sins. Jesus was tempted, but he overcome it. That’s why we’re sittin’ here now. You are what you are. You shall serve whomever you served on Earth. You can’t serve two gods. You love one and hate the other. The Bible says you cannot serve God and Mammon. Can’t serve two gods. You’ll love one and hate the other.
NT: Do you figure Elvis went to heaven or to hell?
JLL: You’re not draggin’ me into that one. I’ll tell ya, it sure is a shame. Elvis had plenty of time to prepare hisself. I talked to him quite a bit about his soul. (Starts singing Tumblin’ Tumbleweeds.) Y’know, son, there’s only been four of us: Al Jolson, Jimmie Rodgers, Hank Williams and Jerry Lee Lewis. That’s your only goddam four stylists that ever lived. We could write, sing, yodel, dance, make love, or what. Makes no damn difference. The rest of these idiots is either ridin’ a damn horse, pickin’ a guitar, or shootin’ somebody in some stupid damn movie.
NT: What other piano players do you like?
JLL: Chuck Berry. Hell, I can’t think of any piano players. I don’t know none but myself. (Sings) “Down the road, down the road, down the road apiece....” I remember that one, the piano player who did that one. That was in 1947. Then in ’48 he came out with (Sings) “Have fryers, broilers, and good old barbecue beef... you never seen such a sight, down at the house, the house, the house of blue lights.” That’s one of my favourites, man, I swear. People don’t realise that I have been doin’ these songs ever since they were number-ones, 1947, 1948. Since I was a little child, man, growin’ up. (Sings) “Down in New Orleans where everything’s fine, all them cats are drinkin’ that wine.” I got the original record of that, Drinkin’ Wine, Spo-Dee-O-Dee. My cousin gave it to me many years ago. I played that sucker and played it and played it till I wore the damn thing out. It had it. But it didn’t have it like my version had it. A song can be good, but it can’t be great till I cut it.
NT: Do you ever get sick of singing Great Balls of Fire night after night?
JLL: I gotta do it. Them folks would yell for their money back if I didn’t. I mean, hell, we sold like 38, 39 million records on it. Whole Lotta Shakin’ done sold over 100 million records, if y’can believe that. The guy that wrote it, he’s been dead. They got in a big squabble over who wrote it. They don’t rightly know who wrote it. The publishin’ was all tied up. It went back into court again. Big Mama Thornton did it. She didn’t do it like I did it, though. Hell, they oughta give me credit for writin’ the damn thing. I rewrote the whole song. It’s funny that me and Elvis should have two big hit records by Big Mama Thornton. That’s strange. She’s been dead now for many years.
NT: No, she’s still alive.
JLL: Hell, no, she’s been dead for at least 20 years now, son, that’s a fact.
NT: Is it true, Jerry, that your ancestors used to own Monroe, Louisiana?
JLL: That’s a fact. Before it was Monroe. The Lewis Plantation. My great-great-grandfather owned it. He could take his fist, hit a horse, knock that horse to his knees. A hell of a man, Old Man Lewis. Then they turned his slaves loose. Hell, they got a big history, the Lewises. Wild drinkers. Wild gamblers. Sinners, all of ’em. I tell you, son. I’m a mean, mean man.
NT: It would seem like that at times.
JLL: Man, I could take that there tape-recorder and shove it up your…
NT: Why in hell would you wanna try to do something like that?
JLL: Just to prove I can.
NT: Do you really think you’re that mean, Jerry?
JLL: Hell, I don’t know. I wouldn’t think so. They say I am. They’ve always called me the Killer. I often wondered why. I think they meant it musically speakin’, not like I’d go around killin’ people. Hell, the only thing I ever killed was a Louisiana mosquito. The Killer. Lord, I hate that damn name.
© Nick Tosches, 1979
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Watch The Sex Pistols tele début ☠ "the most immediate thing I've ever seen on television" ♔ Charles Shaar Murray



"The Sex Pistols tele début on So It Goes is the most utterly immediate thing I've ever seen on television"

-  Charles Shaar Murray



"Get off your arse!"


The Sex Pistols appearance on So It Goes featured their debut TV appearance. Screaming "Get off your arse," Rotten and co. deliver a brutally intense rendition of Anarchy in the UK (broadcast only in the Manchester area on 4 September 1976)

☠
The last studio band, The Sex Pistols, performed 'Anarchy in the UK'.

The show closed with location footage of the Dr. Hook band getting into a taxi.

Three months after this episode was broadcast, Clive James wrote about his appearance on it in The Observer, and in particular expressed disapproval of the Sex Pistols, referring to Johnny Rotten as

"a foul-mouthed ball of acne calling himself something like Kenny Frightful"
♔

Show 9

  • Broadcast 28 August 1976
  • Presented by Tony Wilson, featuring Clive James
  • Director: Peter Walker
  • Producer: Chris Pye

The last episode in the first series of Granada Television's late night magazine programme presented by Tony Wilson, featured live studio performances by Gentlemen singing 'My Ego's Killing Me' and The Bowles Brothers Band performing 'Charlie's Nuts'.

Peter Cook introduced the 'Riff of the Month' competition.

Albums of the Week included The Ramones debut album, and Southside Johnny.

In 'Brain Damage', Clive James attacked the music reviews of Charles Shaar Murray.

There was a nostalgic look back at Jerry Lee Lewis (taken from 'Whole Lotta Shakin' in 1964) in the 'As Time Goes By' section.

Back in the studio, Clive James interviewed Peter Cook (possessed by his alter-ego 'Clive').

  • Tony Wilson

    Produced and presented So It Goes, and inspired by the Sex Pistols founded the legendary Manchester label Factory Records.
  •  

    Tony Wilson presents So It Goes in 1976
     

    So It Goes was named partially in reference to Kurt Vonnegut's novel, Slaughterhouse-Five.
 ♔


♔☠ ♔☠♔☠♔☠♔☠♔☠

I wrote a book about it:
Title:
SeX PisTOLS TEle Début!

Subtitle:
(So It Goes 4 September 1976)

http://pediapress.com/assets/cover/get_preview_front/?subtitle=%28So+It+Goes+4+September+1976%29&language=en&title=SeX+PisTOLS+TEle+D%C3%A9but%21&cover_color=&cover_style=nico_0&editor=by+Dogmeat+-+whatgetsmehot.posterous+Blog&collection_id=d3fa8a9f4d8496dc720844e2593521&title_image=File%3AFilthandfury.png
click here for Book Preview
♔☠ ♔☠♔☠♔☠♔☠♔☠


"Theirs is theirs, punk rock's, the media's, and the common Brit's watershed moment, both positively asserting their worth (and Malc's rightful title as provocateur, Svengali), and signalling the beginning of the end of their brief reign and dominance as the Elvis of Punk, with all inherent negative connotations implied.

In their defense, they never abused or overused the medium or the media, who rather abused them to sensationalize, then profiteer (they worked with Malc under duress, while Elvis worked for Col. Parker as fealty).

They are already averse to the form before the announcer concludes the intro, and only 50% of that show is for show (authored by McLaren); the other half is, and continued to be, quasi-nihilism as performance, self-sabotage, and a desire to finish what they started as quickly as possible."

by mrjyn


Contents:

  • ☠ pediapress, when new was an addicting Wiki platform whose product is sometimes extant - I just found out - which is what i shall be doing for the next hour - written 3 hours ago ♔


more

mrjyn

books

  • SeX PisTOLS TEle Début!

  • Editor: by Dogmeat
  •  Last Update: 10 minutes
    approx. 434 pages, US$ 21.36
    This book has been shared.
♔☠ ♔☠♔☠♔☠♔☠♔☠


There is a page named Sex Pistols on Wikipedia



  • Sex Pistols
    The Sex Pistols are an English punk rock band that formed in London in 1975. They are responsible for initiating the punk movement in ...
    117 KB (17,725 words) - 00:00, July 28, 2010
  • Sex Pistols Boxed Set
    Sex Pistols is a box set anthology of the career of the punk rock band The Sex Pistols with singer Johnny Rotten . It was released on 3 ...
    7 KB (959 words) - 17:28, July 25, 2010
  • Love Pistols
    It was renamed from "Sex Pistols" to "avoid any legal trouble The premise of the story is that 30% of humans are descended not from apes ...
    7 KB (1,013 words) - 05:55, June 29, 2010
  • God Save the Queen (Sex Pistols song)
    "God Save the Queen" was the second single released by the punk rock band Sex Pistols . It was released during Queen Elizabeth II 's ...
    13 KB (1,851 words) - 23:37, July 18, 2010
  • Never Mind the Bollocks, Here's the Sex Pistols
    Never Mind The Bollocks, Here's The Sex Pistols, or simply Never Mind The Bollocks, is the only official studio album recorded by the Sex ...
    17 KB (2,232 words) - 18:42, July 18, 2010
  • Category:Sex Pistols
    Sex Pistols. Category:Categories named after musical groups.
    466 B (8 words) - 21:42, February 8, 2010
☠♔ ♔☠♔☠♔☠

at

December 6, 2018

swindledpodcast.com



A post shared by Swindled (@swindledpodcast) on
at

December 5, 2018

Tyler Mahan Coe «Addicting Cocaine Country & Rhinestones Pōdcast & Coe» by Sarah Larson, The New Yorker, pōcast dept., filed March 7, 2018


| |||| || ||||

||| |||||| || || |||| ||| | |||| ( ||| || )

Addicting

Cocaine,

Country,

& 

Rhinestones

P-cast


| |||| || |||| ( ||| |||||| || || |||| ||| | |||| ( ||| || ). |

«Well, I’ve done a lot of acid»

| |||| || |||| ( ||| |||||| || || |||| ||| | |||| ( ||| || ). | |||| | || |||| ( |||||| ||| | || |||| ||| || |||| | | ||| || || |||| || || || || || || || |||| ||| || || ?| |||| ( ||| || ). | ( ||| || ). | ||| || ). | || |||| |||||| || || | ( ||| || ). | |||| |||| |||| || |||| || |||| |||||| ( ||| || ). | | ?|

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| | ?| || Sarah Larson is a staff writer at The New Yorker. Her column, Podcast Dept., appears on newyorker.com.|| | | |||| || |||| || |||| |||||| || || | || |||| || ( ||| || ). | |||| || |||| ( ||| |||||| || || |||| ||| | |||| ( ||| || ). | |||| | || |||| ( |||||| ||| | || |||| |||








On one episode of “Cocaine & Rhinestones,” we learn why Loretta Lynn’s song “The Pill” was banned after its release, in 1975.
Photograph by Sylvia Pitcher / Redferns / Getty
In 1975, Loretta Lynn, by then an established country singer-songwriter for more than a decade, released her single “The Pill.”

At that point, Lynn had won hearts and raised eyebrows with songs like “Don’t Come Home A-Drinkin’ (with Lovin’ on Your Mind),” whose themes are self-evident, and “Fist City,” warning a woman to stay away from her husband.

(“You’d better move your feet / if you don’t want to eat / a meal that’s called Fist City.”)

“I was the first one to write it like the women lived it,” she has said.

“The Pill,” which she didn’t write but performed with gusto, is a wife’s celebration of freedom:

“I’m tearin’ down your brooder house, ’cause now I’ve got the pill.”

The song—like several of Lynn’s singles—was banned.

In “Blow & Sparklers,” an opinionated, wild, feverish, entertain-po-cast about twentieth-century American country music, written and hosted by TyManCo, we learn why, from a progressive guy with an arsenal of doggedly presented research.

The Co. Man, thirty-three, grew-up country; his father is the outlaw David Allan Coe.

In childhood, T travelled (sic) with his dad’s outlaw band; in young adulthood, he played rhythm guitar and shredded a little in it.

He now lives in Nashvegas.

When asked how he turned out so centered after moving all the time AND his peripatetic, outlaw upbringing among musicians, he paused and said,

“Well, I’ve done a lot of acid.”

Also, books: as a kid on the road, he’d disappear into stuff like James Clavell’s “Shōgun;” he’s still  obsessive, often his books have never been digitized and may never be published.

“Cōgun & Rōgun” references a thorough bibliography.

For “The Pill,” this includes Lynn’s memoir, “Coal Miner’s Daughter,” and the collection “Feminists Who Changed America, 1963-1975.”

(Cōgun, who is currently working on the second season of the PC, was recently invited to use the private archives in the Country Music Hall of Fame, where, he wrote a digitized, secret e-mail, there [sic]

“are at least 500 unwritten books in that data and probably closer to 1,000 . . . Half-or-more of those books are not even written.”)

The pōd has a distinctive, essayist sound, narrated entirely by PōdCōe and delivered in a tone between that of a new anchor,

https://pbs.twimg.com/profile_images/836744595316879363/CWd5Db_i_400x400.jpg

TMC mentor/brō-caster, teacher Malcolm Gladwell,  and a prosecutor in an heated argument.

I often laugh while listening.

In the “Pill” episode, PōCō begins by talking about the “Streisand effect,” in which an attempt to stop the public from being exposed to something makes it go viral, and goes on to discuss the Comstock laws, on obscenity; the history of contraception in the U.S.; a bit of Lynn’s biography, and the lyrics and authorship of the song—all to set up why “The Pill” was banned.

“I’m about to prove it wasn’t a knee-jerk reaction to a country song about birth control,” he says.

He forensically plays songs by men about birth control and abortion.

“Pretty gross,” he says of callous Harry Chapin lyrics.

“But it was not banned.” None of the men’s songs were. There’s a double-standard in music, he explains:

“Men have to go way over the line. All women have to do is get near it.” He plays samples of banned songs by women, including Jeannie C. Riley’s hit “Harper Valley P.T.A.,” about a mother telling off a bunch of small-town hypocrites. (Mindbogglingly, Cosign gives that song a three-episode deep dive later in the season.)

By the end of the episode, he’s proved his point, case closed:

“Female artists have their songs banned simply for standing up to society, or for fighting back.”

A primary thrill of listening to “Coke & Stones,” for me, a classic-country fan of modest insight—I love Hank Williams, Sr., Johnny Cash, Loretta Lynn, and Patsy Cline; I’ve watched a few bio-pods; as a kid, I was fascinated by “Hee-Haw”—is the (my god, that took a long time - ed.) education it provides about other, less familiar artists, whose music is visceral.

(Plenty of music lovers know all about the Louvin Brothers and Doug and Rusty Kershaw; I do not.)

Another provides cultural context; each story reflects larger themes about the artistry and business of country music. And MC CoCo’s writing—like a good country song—is proactive.

“Those bastards” deregulated radio in the Telecommunications Act of 1996; Buck Owens’s vocal delivery is “stabbed-in-the-back-sincere”; a racist song about school desegregation “ends with a chorus of, I assume, ghost children, singing ‘My Country ’Tis of Thee.’ ”

In one of my favorite episodes, about Bobbie Gentry’s eternally mysterious “Ode to Billie Joe,” from 1967, Coe says,

“You can tell it isn’t going to be a normal song right away, from those wheezing violins on the intro.”

The arranger “was working with an unusual crew of four violins and two cellos.” One of the cellists plucked his notes, “while the rest of the strings weave in and out in response to the unfolding drama.” The end is “cinematic”: the strings go up, “with the narrator going up on Choctaw Ridge to pick flowers,” and down, “when the narrator throws the flowers down off the bridge.”

We hear them, falling and eerie, and they give us chills. In the past, I tried to resolve my interlining about “Ode to Billie Joe,” a staple on my childhood oldies station, by trying to figure out what the narrator and Billie Joe were throwing off the Tallahatchie Bridge; by reading about Gentry; and even by watching the horrible 1976 movie made to capitalize on the song’s success.

None of that was remotely satisfying, but listening to  “Coke & tone,” TMC both celebrates the song’s mystery and provides insight into its strange power.

I ask Podcoe about his style; he doesn’t sound like many other p-hosts.

“I would describe it as ‘performative,’ ” he said, then performatively muttered, "You're [hereby] fired."

Explicit performative utterances

  • "I now pronounce you man and wife" – used in the course of a marriage ceremony
  • "I order you to go", "Go—that's an order"
  • "Yes" – answering the question "Do you promise to do the dishes?"
  • "You are under arrest" – used in putting someone under arrest
  • "I christen you"
  • "I accept your apology"
  • "I sentence you to death"
  • "I divorce you, I divorce you, I divorce you" (Islamic: see: Talaq-i-Bid'ah)
  • "I do" – wedding
  • "I swear to do that", "I promise to be there"
  • "I apologize"
  • "I dedicate this..." (...book to my wife; ...next song to the striking Stella Doro workers, etc.)
  • "This meeting is now adjourned", "The court is now in session"
  • "This church is hereby de-sanctified"
  • "War is declared"
  • "I resign" – employment, or chess
  • "You're [hereby] fired."

He was influenced by “the Radio”—dramatic radio shows from his childhood—“specifically Paul Harvey, ‘The Rest of the Story’ ”—which, when I heard it in the eighties, felt like it had been beamed there from the forties—“and Art Bell, the guy who does ‘Coast to Coast AM,’ which has gotten super political and weird now, but when I was a kid it was on AM radio overnight, which meant clear airwaves; you could pick it up in most of the country.”

Bell had a “weird voice,” Coe said, and listeners would call in to talk to him things like about ghosts, alien abductions, and telepathy.

“We had a driver who loved listening to it,” he said. “You’d be driving through the night to the next town, through the middle of nowhere, just the headlights on the road ahead of you in the complete darkness, and all these adults are on the radio having these conversations about this stuff, and they sound dead serious.”

That mood made an impact.

On “Coe & Rye,” he wants to evoke a sense of it.

He records his vocals overnight, in a basement, when it’s quiet outside.

“Just me alone in the dark, talking into a microphone,” he said.


for being such a good sport, i've included this 120-episode YouTube Playlist from Season 2 of TC's favorite TV show, Mike Judge's Tales from the Tour Bus
Mike Judge Presents: Tales from the Tour Bus, Season 2, Episode 1 of 120

About

Chronicling the exploits of legendary music artists, Mike Judge Presents: Tales from the Tour Bus returns for an all-new season that focuses for the first time on funk-music greats including James Brown, George Clinton, Bootsy Collins, Rick James and others.
As with S1, which spotlighted country musicians, co-creator and EP Mike Judge (9-time Emmy-nominee for HBO's Silicon Valley) continues to serve as the series' narrator, recounting, in his classic comically wry style, the raucous adventures of notorious musical talents, as told by those who knew them best.
Hilarious and offbeat, the series features animated interviews with former bandmates, friends and other erstwhile associates, each of whom share uncensored anecdotes brought to life by animated reenactments, and woven together with live-action archival performance footage and behind-the-scenes photos.
A love letter to musicians and all their wild, crazy and sometimes downright bizarre antics, Tales from the Tour Bus continues to serve as an entertaining and enlightening look into a lesser-known side of music history, for music buffs and casual fans alike.
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