27/05/2018

'Morning Theft'


Maybe my favourite song on this vey special album...

Tell me darling, did you also wonder why songs have to end...?

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Jeff Buckley was completing this second album when he died. 

Sketches for My Sweetheart the Drunk turns 20 today and "gives a glimpse into an erratic mind that could be too mercurial for its own good," writes Pitchfork.

We know he didn't want it out unfinished but we're so grateful to have it still.


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Jeff Buckley- 'Morning Theft'






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Lyrics:




"Morning Theft"


Time takes care of the wound 
So I can believe 
You had so much to give 
You thought I couldn't see 

Gifts for boot heels to crush 
Promises deceived 
I had to send it away 
To bring us back again 

Your eyes and body brighten 
Silent waters, deep 
Your precious daughter in the
Other room, asleep 

A kiss "Goodnight" from every 
Stranger that I meet 
I had to send it away 
To bring us back again 

Morning theft 
Unpretender left 
Ungraceful 

True self is what 
Brought you here, to me 
A place where we can 
Accept this love 

Friendship battered down by 
Useless history 
Unexamined failure 

But what am I still to you 
Some thief who stole from you? 
Or, some fool drama queen 
Whose chances were few? 

That brings us to who we need 
A place where we can save 
A heart that beats as 
Both siphon and reservoir 

You're a woman, I'm a calf 
You're a window, I'm a knife 
We come together 
Making chance in the starlight 

Meet me tomorrow night 
Or any day you want 
I have no right to wonder 
Just how, or when 

You know the meaning fits 
There's no relief in this 
I miss my beautiful friend 

I have to send it away 
To bring her back again.



"Sketches For My Sweetheart The Drunk" at 20


I was mad, head over heels, in love with this album when it came out.

The sound of the summer 1998.

20 years...

Jeff Buckley was completing this second album when he died.
Sketches for My Sweetheart the Drunk—turning 20 today— "gives a glimpse into an erratic mind that could be too mercurial for its own good," write Pitchfork.

We know he didn't want it out unfinished but we're so grateful to have it still.


Jeff Buckley - 'Everybody Here Wants You'





Jeff Buckley's official music video for 'Everybody Here Wants You'.
A song featured on its Sketches For My Sweetheart The Drunk.

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Lyrics




"Everybody Here Wants You"


Twenty-nine pearls in your kiss 
A singing smile 
Coffee smell and lilac skin 
Your flame in me 

Twenty-nine pearls in your kiss 
A singing smile 
Coffee smell and lilac skin 
Your flame in me 

I'm only here for this moment 

I know everybody here wants you 
I know everybody here thinks he needs you 
I'll be waiting right here just to show you 
How our love will blow it all away 

Hmm, such a thing of wonder in this crowd
I'm a stranger in this town 
You're free with me 
And our eyes locked in downcast love 
I sit here proud 
Even now you're undressed in your dreams with me 

Oh, I'm only here for this moment 

I know everybody here wants you 
I know everybody here thinks he needs you 
I'll be waiting right here just to show you 
How our love will blow it all away 

I know the tears we cried 
Have dried on yesterday 
The sea of fools has parted for us 
There's nothing in our way 
My love 

Don't you see, don't you see? 
You're just the torch to put the flame to all our guilt and shame 
And I'll rise like an ember in your name 

I know I, I know I 
I know everybody here wants you 
I know everybody here thinks he needs you 
I'll be waiting right here just to show you 
Oh let me show you 
That love can rise, rise just like embers 

Love can taste like the wine of the ages, oh babe, 
And I know they all looks so good from a distance 
But I tell you I'm the one 

I know everybody here, well, thinks he needs you
Think he needs you 
And I'll be waiting right here just to show you.




25/05/2018

JOHNNY MARR AU SOMMET


Mon article sur le concert de Johnny Marr hier à Paris pour "Toute La Culture" :

MARR AU SOMMET

25 mai 2018 Par
Melissa Chemam
Johnny Marr a donné un concert spécial dans l’écrin de la Gaîté Lyrique, à Paris, jeudi 24 mai 2018, pour le lancement de son nouvel album, Call The Comet. Un retour salué avec bonheur par une jauge de fans de tout âge, enchantés par le talent hors norme du guitariste de légende. On en redemande !
Par Mélissa Chemam



Johnny Marr est maintenant Johnny Marr. Après avoir connu une célébrité débridée au début des années 1980 avec le groupe The Smiths, après avoir joué pour les plus grands, dont Paul McCartney et The Pretenders, et formé ou rejoint plusieurs groupes, il se présente désormais sous son simple nom. Il aura fallu trois décennies à Marr pour venir « centre stage ».
Armé d’une superbe guitare Fender en glitter argenté, le musicien de Manchester a entamé son set d’une heure en retard, mais en trombe. Avec le premier extrait de son prochain album, ‘The Tracers’, et une chanson des Smiths, ‘Bigmouth Strikes Again’. Suivis de deux morceaux, avant d’introduire son nouveau single, ‘Hi Hello’ avec un peu d’humour : « Je les appelle toujours des ‘single’, je sais qu’on ne dit plus ça ! Je suis au courant pour Spotify et consort… » ‘Hi Hello’, un titre à la composition entrainante, un rock au accent indépendant digne des plus belles heures des Smiths.
Ce concert est en effet destiné à introduire son nouvel album intitulé Call The Comet – son troisième en solo – aux publics britannique, européens et américains. Il sort en France le 15 juin chez New Voodoo. Un album pensé en réaction aux vagues conservatrices qui plombent le monde politiquement mais qui lui a été inspiré en rêvant justement « à une société alternative située dans un futur proche ». Un style qu’il décrit comme son « propre réalisme magique »…
La magie de sa performance agit en tout cas ! Il parle peu mais est très présent. Il introduit la chanson suivante comme « a disco song from Manchester, England » : il s’agit de ‘Getting Away With It’ qu’il interprétait avec le groupe Electronic. « Walking away in the rain just to get wet… I love you more than you love me »… Mélancolie pop du nord anglais.
Alternant avec un instrument bleu électrique, le guitariste, entouré d’un batteur, d’un bassiste et d’un seconde guitariste, montre à quel point il mérite son titre de « guitar hero ». Il t annonce ensuite une chanson politique, « contre un certain gars à la Maison Blanche »… « A fucking wanker ». Et enchaîne avec le titre ‘Easy Money’, la petite bombe rythmique de son deuxième album Playland.
Avec l’énergie d’un jeune homme et l’humilité d’un talent qui en a vu d’autres, Johnny Marr est content d’être à Paris. Il introduit ensuite les membres du groupe e puis nous dit : « You know my name is ‘J’en Ai Marre’… ? Les gens m’ont toujours dit, ‘tu sais ton nom en français’… » Et il sourit. « Enough of my story. This song is called ‘Rise’… » Et il reprend la guitare bleue.
Le groupe nous remercie enfin. Le concert touche à sa fin. Et quel meilleur morceau pour le clôturer que ‘How Soon Is Now’ ?
« I am human and I need to be loved… Just like anybody else does »… Une chanson dont on rêve qu’elle ne prenne jamais fin. Ce titre inoubliable, c’est Johnny Marr qui le composa pour The Smiths et il dit souvent qu’il est la chanson dont il est le plus fier. Ce soir, sa performance vocale fait taire les nostalgiques du chanteur Morrissey… Le groupe reviendra bien sûr pour un rappel mais la chanson résonne encore…


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Lien : http://toutelaculture.com/musique/pop-rock/marr-au-sommet/


23/05/2018

The Story of Massive Attack and Bristol's Underground Culture


Posting again: my interview with literary website Bookwitty about my book about the cross-pollination Massive Attack's 'Blue Lines' unleashed in England... Multi-culturalism at its best:



Interview: The Story of Massive Attack and Bristol's Underground Culture

Mischa SnaijeBy Mischa SnaijePublished on April 16, 2018



Melissa Chemam is a French journalist who has been reporting on culture and international news since 2004. She has worked on four continents, for France 24, the BBC World ServiceRFI (Radio France Internationale), and with the Haitian filmmaker Raoul Peck. Since 2003, she has been based in Prague, Paris, Miami, London, Nairobi and Bangui. 
Her upcoming book, Massive Attack: Out of the Comfort Zone, was published in French in 2016, by Editions Anne Carrière. Ahead of its publication in English in September 2018 she sat down for an interview:

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To start off, how did you come to write this book? Is there anything specific to your life that sparked an interest in Bristol and Massive Attack?
Yes, there was a special event. In my work at France Culture radio station, in the summer 2014, I was covering the Middle East a lot, and I heard that the band members of Massive Attack were playing in Lebanon for the Byblos festival. I read that they were visiting Palestinian refugee camps to meet people they had been helping for years. And it was very moving because they were talking very directly about the responsibility of their own country, and how they wanted to raise awareness. It felt to me so genuine; I was touched by their will to help. I thought to myself ‘this is a beautiful story’: they could have just talked about it from England or on stage, but instead they were out there, in the camps, trying to build bridges. 
So I kind of became obsessed with their story, and started reading articles about Bristol and how the band came about. At the same time, a friend of mine who is a music journalist, said ‘why don’t you stop going to war zones? Every time you come back you are so depressed…’ And I thought: ‘Yea! I’ll just start working on this Massive Attack project!’ I knew from the start that it would be difficult to get in touch with them, especially since they are not known to be media-friendly, and I had no contacts to go through a big organization. But I managed to get a meeting with 3D (Robert Del Naja), who was the person I most wanted to meet. 3D is for me the core member of the band, and also the most committed to the discourse beyond the music.

What sort of book did you set out to write? Did you see yourself as more of a cultural historian, or as a journalist?
I wanted to write a piece of cultural history, but you have to keep in mind that Massive Attack is still very contemporary. The band members are still quite young (Tricky just turned 50 but has the same energy as at 35). So I had to take the analysis of a historian on events that are still very close to us. That was exciting for me, but of course it's risky for a publisher. And since this was to be my first published book, I knew I wanted to keep a journalistic approach, because by going on-site and talking to people, it would be more appealing for a publisher; it wouldn’t just be me talking the whole time. So I went to Bristol and stayed there for a while, and I met a lot of people connected to Massive Attack I wouldn’t otherwise have known about – it was kind of like piecing together a family tree.

One of your central ideas seems to be that Massive Attack is the product of the unique history and cultural context of the city of Bristol. Can you briefly outline some of the main features?
The history of Bristol is not very talked about compared to other cities that shaped the British Empire, like Liverpool or Manchester. But Bristol was a huge port in the 18th century, and was one of the richest cities because it was the bridge between Great Britain and the Americas. And because of this connection, it also became one of the centers of the slave trade. Slaves from Africa passed through port cities like Bristol, Nantes and Bordeaux before going on to America (this is something that museums tend not to mention very much). Because of this unique context Bristol became one of the first places to call for the abolition of slavery, and this was probably the start of the rebellious, anti-establishment tradition still present today.
During the World Wars there was a huge influx of people from the Caribbean who were called to fight for the British Empire, and they brought new influences with them, and later the Windrush generation even brought Reggae. It’s a bit of the same history as South and West London (Brixton, Ladbroke Grove), except that in London it was diluted by a lot of other trends. But for Bristol, the Caribbean influence was much more concentrated, and you can see that in Massive Attack, for example in their collaboration with Horace Andy. In the 1980s there was a wave of rioting, notably in St Pauls (the Caribbean neighborhood) because the youth were getting harassed by the police. It was a classic case of discrimination: it was easy, and it reassured the public. All this gave Bristol a big underground culture made of DIY, punk energy, mixed with reggae influences and a strong political attitude. 
All this is a bit underreported to my views, and I thought it would be fun to look into how Massive Attack made visible all of these influences. The band works as a focal point for all this history, some very negative but some very positive as well, because out of it came this incredible energy and creativity.

You mentioned already that Massive Attack is politically active, for example by raising awareness for Palestinian refugees. Are there any other political issues that they deal with, either through their music or through their activism?
People often didn’t really take their lyrics seriously at the beginning, because they made a joyful kind of rap. But I looked into the lyrics, for example in Blue Lines, and they are often talking about political issues, like the effect we are having on the environment. And this was in 1990, before it became an obsessive topic.  They also deal with issues of integration and identity, picking up on Rastafarian themes present in reggae but in a very British way. In a song like Karmacoma, they talk about being British but also from somewhere else in a very joking way. 3D is half Italian and Tricky is half Jamaican, so these are issues relevant to them personally.
They became much more politically active after 2003, because 3D was very vocal in opposing the war in Iraq. At the time, most pop stars had nothing to do with politics so he was very alone in that movement. They really had to put themselves out there, and they did by putting on a show in 2003 completely centered around the Iraq war. They used screens to display information found in the news, a collection of headlines, facts photographs, and quotes aimed at raising awareness about the realities of the war.
Another explicitly political song is False Flags (Released on the ‘Collected’ compilation in 2006), which is about the riots in France in 2005. The lyrics deal with the direction that Europe is going, and how we missed a lot of changes that happened and still deny that they happened. This theme was picked up already, less obviously in a song like Eurochild . The lyrics of their songs, mostly written by 3D, can usually be interpreted in many different ways. It’s interesting because 3D was a big fan of punk music, which tends to have a very simple and direct message, but he writes in a very mysterious and literary way.
Massive Attack is so much more than their music, and part of it is a very strong visual aesthetic, rooted in street art. Could you tell us about the connection between these two forms of art, and how 3D in particular was an inspiration in the Bristol street art scene?
The early steps of the street art scene in West England are still relatively unknown. 3D was first and foremost a street artist - he was in fact the first to emerge from Bristol at 18. In the early 80s there was graffiti all over the place in Bristol, inspired by New York, because you had a lot of Jamaican kids who had their cousins there, and were aware of the new trends. But 3D used graffiti to make an artistic statement: he painted very large murals in specific venues, and became known under his pseudonym. Street art was very closely linked with the hip hop scene, and 3D started designing the flyers for some rappers. By 1983, he had emerged as one of the main figures of the Bristol street art scene. He was a hero at the time. In 1985, an art gallery in Bristol decided to have an exhibition about street art, centered on 3D (the first of its kind in the UK).
From there, he got into rapping. And it’s a bit of a magical thing, because he was doing flyers for hip hop events, and 3 months later he was the best rapper. It was a very competitive spirit, based on writing witty lyrics, and he became one of the best because he’s just very good with words. Graffiti also started as wording, so for 3D rapping was just a different way of expressing himself. This was the Thatcher era, so everybody was unemployed, and almost all the Massive Attack members actually met on the dole, collecting their checks as unemployed youths. So they were probably very driven, because they didn’t have many prospects, and art was all they had!

The universe that Massive Attack create through their music is often quite dark and unsettling - it doesn’t have a mainstream appeal. What is it about them that you think captures the imagination of a global audience 30 years later? 
It was a mix of things, but mainly I think they were always very ahead of their time. Until Mezzanine, Grant Marshall used to say that all of their albums came out too early. They had already transitioned from rap to electronic music in the early 90s, when people were still making sense of trip hop. So that helps explain their longevity. They also had this way of disappearing for a few years, and then coming back with lots of noise, often in collaboration with famous artists from a variety of fields like MadonnaTracey Thorn or Michel Gondry. I think this created an aura of mystery around them, which influenced someone like Banksy very much. It showed him that shying away from the public gave him much more power than trying to grab attention all the time.
Then there is something about the darkness in their music which for me is something very cathartic. It’s a way of talking about suffering, and turning it into something alive and beautiful, which is rooted in their soul influences. I think it’s a very universal feeling that people seek to experience through art. Why do we love Picasso’s Guernica so much? This trauma from the war turned into a painting gives us a feeling of relief: it’s finally out there and it's not just painful anymore. Massive Attack manage to give meaning to this darkness through their rhythms (like the heartbeats in Teardrop). Because the drums are so present in their music, it gives off an incredible energy, it becomes almost tribal. 
Massive Attack will never be like generic pop stars. They don’t have that kind of mainstream appeal. But by managing to reinvent themselves time and time again, they become timeless. It’s the only band I own all the albums from, and I love them all equally. 



Can you briefly talk about the process of turning the French book into an English version? 
I got a deal with a French publisher easily, because of the appeal of the story, and because we have a wonderful publishing system in France that is probably more subsidized. But I thought it was also important to publish the book in the UK, so I tried to raise interest but this only had the opposite effect! British publishers don’t like to buy foreign rights, because they often fear to lose money, and I did not have an established record as an author. So instead I re-wrote the book in English myself, thankfully not from scratch because I had all my quotes in English, and had already written some English summaries. Eventually, I worked with a small, Bristol-based publisher called Tangent Books, who was delighted at the opportunity to work with Massive Attack. It keeps the project edgy and independent, and everyone is happy about that!

What are your next projects coming up?
I am working with Raoul Peck on his films, and I have a project to write another book about music, exploring its links with Africa. I also wrote a novel a few years ago, dealing with post-colonial issues, and am trying to get it published in France. For my next novel, I’m thinking of publishing it the UK or US.




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On Black Punk


This needs to be known more.

Thanks to the author of this article.

Why is the history of punk music so white?

Photo: Death Gripsvia chartattack.com

True punk rebellion has always existed in black culture, and continues to exist today

The usual images you see of the punk era, which developed throughout the 1970s, portray it as ugly, raw and beautiful. Faces crisscrossed with safety pins. Black eyeliner bleeding into caked-white faces. Leather jackets and bright manes gelled into peaks. But while the multi-coloured hairdye is ubiquitous, another type of colour has often been noticeably absent.

There’s no denying that the UK punk scene was, in part, driven by the anger and isolation felt by the white working class. But punk music is not the sole property of whiteness, even though to people of my generation it may appear that way at first glance. Like many facets of pop culture, its historical image has been whitewashed: when you think of punk’s history, it’s bands like The Clashthe Sex Pistols and the Ramones that immediately spring to mind. But the ‘spirit’ of punk is present, and has always been present, in music made by black people too, from obvious co-conspirators Bad Brains through to bar-spitting rude boys and today's radical, no-fucks-given rappers like Young Thug and artists like FKA twigs.


In many ways, black people were the original counter-cultural figures, racially excluded from a domineering white society, albeit not out of choice. Our music and culture has been intimately linked with the punk genre since its inception. Scratch the surface and there it is: “Black people gotta lot a problems, but they don't mind throwing a brick, white people go to school, where they teach you how to be thick,” sang the Joe Strummer in The Clash’s 1977’s anthem, “White Riot”. Just like creative polymath FKA twigs has shown us, punk is all about attitude. Blues artist Bo Diddley had it, for instance, but probably wouldn’t have appreciated being called a ‘punk’ – a word that had a very different meaning in the USA in the 50s and 60s.
Perhaps the clearest example of this comes from the intersection between British reggae and punk music, which both exploded in popularity at around the same time. My dad, a proud former punk rocker, tells me about the concerts he would go to in the 1970s, where they would play reggae music in between the punk acts. “There was no punk music recorded at the time,” he explains. Anecdotes like his permeate music criticism of the era.

As put by Dave Simpson in the Guardian, “If 1977 was the year of the punk rock explosion, it also saw the rise of another musical movement, intimately entwined with punk – a massive eruption in British reggae, which became the black counterpart to the white heat of punk.”
Like punk, reggae offered a new soundtrack for the working class, both black and white. The Rock Against Racism campaign, created to combat street-level racist organisations, put on many gigs with punk and reggae groups, spawning Marley’s 1978 song “Punky Reggae Party”. Later the 2-Tone movement, which arguably has closer connections with punk than the vintage ska music that kindled it, fought against racism in a different way.
“It’s not so much recognising black people in punk, it’s recognising the punk that already exists in black culture”
Although by the late 70s, punk found itself tarnished by the ‘Oi!’ movement, which seemed intent on ridding the black influence from punk rock to make it more pertinent to white youth, with many adherents becoming bound up in far-right white nationalist organisations such as the National Front and the British Movement.

The fascism that some punk later became caught up in is possibly one of the reasons why it is viewed as a predominately white genre. It’s not that the majority of the punk bands don’t respect and acknowledge the contribution of reggae to punk production and arrangements (as Viv Albertine of The Slits said in a 2012 BBC documentary, “I think what reggae really taught punk was about space. It was such a relief after the strictness and the minimalism of punk.”), it’s more that society has been caught up in a stereotypical image of punk, which, in its worst forms, has links to Nazism.

The perceived whiteness of punk may also be the reason why black people have often felt isolated from so-called ‘alternative’ culture. However, the 2003 documentary AfroPunk, which has inspired both a cult following and a successful festival, exposed the beating heart of alternative black culture to the mainstream, as well as the more indistinct links between black and punk culture. 


As one woman featured in the film put it: “I’m aware of the direct influence of African people as well as the indigenous peoples of America on the punk prototype image. It was a contemporary Eurocentric version of what people in the bush were doing.”

While AfroPunk isn’t to everybody’s taste, it’s empowering to a whole swathe of black people not attracted to populist black culture: those who don’t worship Beyoncé, love rap music and wear long, shiny weaves – or perhaps do, but don’t want to feel hemmed in by it, or defined by the stereotypes attached to racial identity.

These days, ‘alternative’ blackness is clearly everywhere, but the intersection between black music and punk most clearly exists in artists like Ho99o9Death Grips and Mykki Blanco. In their music you can hear the raw sound, the energy and the focus on manic exhibitionism. Place Death Grips’ rapper MC Ride over the top of a Dead Kennedys track, and it would make perfect sense. Mykki Blanco is perhaps a more rap-inspired echo of one of the UK’s early and almost lone examples of a black punk frontwoman, Poly Styrene of X-Ray Spex, not so much because they sound alike, more because they share an uncompromising vision of how they want the world to see them. As ever, it’s not so much recognising black people in punk, it’s recognising the punk that already exists in black culture.

22/05/2018

The Earth of the Wretched



"Each generation must discover its mission, fulfil it or betray it, in relative opacity". 

-  Frantz Fanon, in The Wretched of the Earth  



Johnny Marr, Gaîté Lyrique, May 24



Welcome to Paris, Johnny Marr! 





See you there!



Johnny Marr - Hi Hello - Official Music Video





New album coming up in June: 'Call The Comet' 
Directed by Mat Bancroft and Johnny Marr Shot by Sitcom Soldiers To know more about Johnny Marr: Facebook https://johnnymarr.lnk.to/Facebook Twitter https://johnnymarr.lnk.to/Twitter Instagram https://johnnymarr.lnk.to/Instagram YouTube https://johnnymarr.lnk.to/YouTube Spotify https://JohnnyMarr.lnk.to/Spotify iTunes https://johnnymarr.lnk.to/iTunes

21/05/2018

"It's Never Over"



Arcade Fire - 'It's Never Over (Oh Orpheus)'






"It's Never Over (Oh Orpheus)"



Hey, Orpheus!
I'm behind you
Don't turn around
I can find you

Just wait until it's over
Wait until it's through
And if I call for you
Oh, Orpheus!
Just sing for me all night
We'll wait until it's over
Wait until it's through

You say it's not me, it's you

Hey, Orpheus!
De l'autre côté de l'eau
Comme un écho
Just wait until it's over
Wait until it's through

And if I shout for you
Never doubt
Don't turn around too soon
Just wait until it's over
Wait until it's through

It seems so important now
But you will get over
It seems so important now
But you will get over
And when you get over
When you get older
Then you will remember
Why it was so important then

Seems like a big deal now
But you will get over
Seems like a big deal now
But you will get over
When you get over
And when you get older
Then you will discover
That it's never over

Hey, Eurydice!
Can you see me?
I will sing your name
Till you're sick of me
Just wait until it's over
Just wait until it's through

But if you call for me
This frozen sea
It melts beneath me
Just wait until it's over
Wait until it's through

Seems like a big deal now
But you will get over
Seems like a big deal now
But you will get over
And when you get over
And when you get older
Then you will remember

He told you he'd wake you up
When it was over
He told you he'd wake you up
When it was over
Now that it's over
Now that you're older
Then you will discover
That it's never over

It's never over (it's never over) [8x]

Sometime (Sometime)
Sometime (Sometime)
Boy, they're gonna eat you alive (eat you alive)
But it's never gonna happen now
We'll figure it out somehow

Sometime (Sometime)
Sometime (Sometime)
Boy, they're gonna eat you alive (eat you alive)
But it's never gonna happen now
We'll figure it out somehow

Cause it's never over
It's never over (it's never over) [6x]

We stood beside
A frozen sea
I saw you out
In front of me
Reflected light
A hollow moon
Oh Orpheus, Eurydice
It's over too soon

Björk 1998



BJORK - 'Bachelorette' + 'Joga' - NPA LIVE 1998 That year...


Lyrics:



"Joga"


All these accidents that happen
Follow the dots
Coincidence makes sense only with you
You don't have to speak
I feel

Emotional landscapes
They puzzle me
The riddle gets solved
And you push me up to

This state of emergency
How beautiful to be!
State of emergency
Is where I want to be.

All that no one sees you see
What's inside of me
Every nerve that hurts you heal
Deep inside of me
You don't have to speak
I feel

Emotional landscapes
They puzzle me
Confuse
Can the riddle get solved?
And you push me up to this...

State of emergency
How beautiful to be!
State of emergency
Is where I want to be

State of emergency
How beautiful to be!

Emotional landscapes
They puzzle me
The riddle gets solved
And you push me up to this

State of emergency
How beautiful to be!
State of emergency
Is where I want to be

State of emergency
How beautiful to be!

State of emergency.
State of emergency.

How beautiful
Emergency
Is where I want to be

State of emergency
How beautiful to be!
State of emergency
Is where I want to be


'Mojo Pin': "Black beauty I love you so"


"Black beauty I love you so"...

These lyrics have been dancing on my mind these past few days...


Jeff Buckley - 'Mojo Pin'

 Live at Glastonbury 1995





Jeff performs 'Mojo Pin' live at the UK music festival 'Glastonbury' In 1995


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"Mojo Pin"

It's a song about a dream 

Well i'm lying in my bed 
The blanket is warm 
This body will never be safe from harm 
Still feel your hair, black ribbons of coal 
Touch my skin to keep me whole 

If only you'd come back to me 
If you laid at my side 
I wouldn't need no Mojo Pin to keep me satisfied 

Don't wanna weep for you, I don't wanna know 
I'm blind and tortured, the white horses flow 
The memories fire, the rhythms fall slow 
Black beauty I love you so 

Precious, precious silver and gold and pearls in oyster's flesh 
Drop down we two to serve and pray to love 
Born again from the rhythm screaming down from heaven 
Ageless, ageless 
I'm there in your arms 

Don't wanna weep for you, I don't wanna know 
I'm blind and tortured, the white horses flow 
The memories fire, the rhythms fall slow 
Black beauty I love you so 
So, so... 

The welts of your scorn, my love, give me more 
Send whips of opinion down my back, give me more 
Well it's you I've waited my life to see 
It's you I've searched so hard for... 

Don't wanna weep for you, I don't wanna know 
I'm blind and tortured, the white horses flow 
The memories fire, the rhythms fall slow 
Black beauty I love you so 
So, black black black black beauty...