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Habitations & The Towns We Know (Troutdale, Oregon)

Thursday, August 21 - McMenamins Edgefield, Troutdale, Oregon

Again, tonight is the first time Beck has played in Troutdale, which is not far outside of Portland.

Also, according to wikipedia, the venue tonight is reportedly haunted:

The Multnomah Country Poor Farm, also known as the Edgefield Poorhouse and Edgefield Power Station, located in Troutdale, Oregon, is supposedly haunted. The construct, built in 1911, operated as a poorhouse, and also housed the mentally challenged, the disabled, and the elderly; since death was common in poorhouses, many people were buried on the property in unmarked plots. The property later served as a sanitorium and a reform school for troubled kids before falling vacant in 1990. It is now a hotel operated by McMenamins restaurant and brewery, and has several restaurants and bars on the property as well as an outdoor stage for concerts. Hotel guests have frequently reported hearing a woman’s voice reciting nursery rhymes, as well as unexplained crying in the building. A woman dressed in white is also often seen roaming around the property.

Be careful if you’re going tonight!

-

"Learn to see around the edge / follow the avalanche / turn away"

"Love looks away in the harsh light of the day / on the edge of nothing more"

"At the edge of the ledge, something’s said…"

"Take the time to find the edge of where the darkness ends"

"You and I delirious
A curious vice
A half-off price
Running on the edges
Of an amateur delight”

"Smoothing out the barrel and scraping off the edges"


Habitations & The Towns We Know (Redmond, Washington)

Wednesday, August 20 - Marymoor Park, Redmond, Washington

Beck’s short tour of spectacular scenic outdoor parks in the Northwest US/Canada continues tonight in Redmond, Washington (just outside of Seattle).

Beck has performed in a bunch of cities in Washington (Seattle, Olympia, George, Bremerton, Auburn) but this is the first time in Redmond.

Sorry I started this series on this leg, when it’s mostly Beck’s first time in each spot.  This will be more interesting in a few weeks when he hits Europe, and on in the future.

:)

"A switch in my brain / the battery light washing away / gaping at the oceans below"

"Ammunition souls shooting holes in the ozone / widow’s tears washing the soldier’s bones"

"I was born in this hotel, washing dishes in the sink"

"I ain’t washing dishes in a ditch no more"

"Smiler was looking for handouts
Sleeping in an abandoned lighthouse
Down at the minimall, shaking his hat
Washing windows with his bare hand”


Habitations & The Towns We Know (Burnaby, British Columba)

Tuesday, August 19 - Deer Lake Park, Burnaby, British Columbia

Beck brings his Morning Phase tour tonight to Burnaby, playing the Deer Lake Park.  This short tour of the Northwest US consists of all outdoor scenic parks, and looks quite lovely.

Beck has never played Burnaby before.  He has been in neighboring Vancouver a good amount, but I’ll save that city history until he plays there!  :)  

One of my favorite old Beck songs:

"Burn"
I was a brushstroke in the plan
An expendable man
A stepping stone
A house plant
No goodbye, no thanks
Just left to fill in the blanks
Honey, if the shoe fits
You better walk on
'Cause you can be so careless
Always change your mind

Pink Noise #4: March 22, 2003 - Sydney, Australia

March 22, 2003 - Hordern Pavilion, Sydney Australia [whiskeyclone]

Looking back, the Sea Change tours of 2002-2003 feel a little unfocused, in that over that time, Beck did two solo acoustic tours, but also three different band tours with three different bands.  Famously, he first went out with The Flaming Lips, and then in the summer he did a few months with an entirely new band.  But in between there, Beck did a few shows with his mostly classic all-star band, and that’s what tonight is from.

I say “mostly classic,” because the band consisted of Smokey Hormel, Justin Meldal-Johnsen, and Joey Waronker from Beck’s classic Odelay/Mutations/Sea Change/Morning Phase lineups, though this time Greg Kurstin played keyboards.  (I do not recall why Roger Joseph Manning Jr. wasn’t there.)  Kurstin had been with Beck on the Lips tour in 2002 and would stay with him through 2003.  He would later go on to be quite the famous producer in his own right, and played on a few Modern Guilt songs as well.

Anyway this band did just 9 shows, four in Australia and five in Japan, and this night in Sydney was the final Australian gig.  Internet research was lacking on the show (and some clearly incorrect info turned up), but I did learn that Bruce Springsteen was playing the same night, literally right next door at the Sydney Cricket Grounds.  Beck was at the Hordern Pavilion, an old classic theatre, that holds about a tenth of the people the Cricket Grounds does.  A local act, Gelbison, opened Beck’s show (and in fact did all four Australian shows).

Beck comes out and begins with a short acoustic set, “Guess I’m Doin’ Fine,” “Nobody’s Fault,” and an ode to his recent bandmates, a cover of The Flaming Lips’ “Do You Realize??”.  The bootleg recording is muddy and distant and people around the taper cheer a lot, but you can hear Beck fairly ok.  (I’ll share some samples, but don’t have high expectations, please.)  But what is clear is that the audience is utterly enrapt during the acoustic songs.  By 2003, I would say Beck’s acoustic folk game had been mastered and he’s as good as it get; it’s too bad the set didn’t last longer.  Beck tells the crowd Sydney is one of his favorite places.

In another ode to the Lips tour, Beck begins “The Golden Age” by himself, but halfway through the band jumps in.  (This dynamic arrangement originated with The Lips.) I read one online note about the show that said at the point the band joined in, “the stage lit up in brilliant color and made you wish that if only everything were this beautiful, the world would be perfect.”

The band continues with some more acoustic material, sticking with Mutations and Sea Change stuff for the first part of the set.  ”Lazy Flies” reminds me of “The Golden Age,” as it similarly begins quietly, before erupting a bit (or as much as “Lazy Flies” can anyway).

A few more Sea Change songs come next, a good “Lonesome Tears” (though I don’t think I’ve ever really gotten used to hearing it on stage, without the strings) and a sharp “Lost Cause.”  An all-too-quick “It’s All In Your Mind” follows, again starting gorgeous and delicate, before the band puts some power into it.

It’s hard to make too many statements on a show when the recording quality is low, but I’d say that the flow of this setlist is definitely an odd one.  There is a lot of low-key stuff, but little bits of fun try to bust through, like rays of sun through the clouds.

The first mischievous song is an almost unrecognizable “The New Pollution,” in a rare arrangement that certainly did not have a very long life.  Unsure why, though, it seems pretty awesome!  It feels like a dark new wave song or something.  (I’m struggling to place the band/song it reminds me of.)  It’s too bad the recording isn’t better though, this is a fascinating version.

A fairly typical “Hotwax” hits next, but it really seems to get the crowd revved up.  But the setlist doesn’t keep them there, as Beck immediately drops the energy back down for a trio of Sea Change songs: a groovy “Paper Tiger,” an intense “Sunday Sun,” and a laidback “Ship In A Bottle.”  These songs fit together nicely though, as they all have that Sea Change feeling, but with their own individual personalities.



Beck’s blues guitar leads off “Loser.”  I really dig Beck’s electric blues guitar jams before “Loser,” but tonight the intro is very short, and the whole song seems a little tired.  The band then (finally) dips into Midnite Vultures, tackling “Broken Train.”  ”BT” didn’t have a very long life on stage, only really showing up on the Vultures tours and a few times afterwards in 2003.  ”Tropicalia” also has a bit of that tired vibe I picked up on “Loser,” but ironically, it really works for this song!  Beck whispers the vocals, in a sort of hushed croon.  The band slow dances behind him, not the normal sharp bossanova groove, but a smoother, more leisurely flow.  

The band continues with the mellowness, doing “Already Dead” and “Jack-ass,” before Beck reminisces about the rowdy New Year’s gig they did in Sydney a few years earlier.  (He tells a story about a young girl throwing up.)

Finally, the band gets to a series of upbeat, energy songs, keeping the mood up for to end the show.  A run through of “Novacane” gets to a fun “Nicotine & Gravy,” which the crowd seems to LOVE. They also get behind “Milk & Honey,” and now I’m convinced that Sydney is a very Midnite Vultures sort of place.  Beck’s showstoppers, “Where It’s At,” “Devils Haircut,” and “One Foot In The Grave” close the show on a high.

This bootleg is hardly necessary, only for completists or people who were there, but that’s mainly due to the sound quality.  As I said earlier, the show had a bit of an odd flow to it, not really getting much steam until the final gambit of songs.  That said, I find the arrangements of “The New Pollution” and “Tropicalia” above quite intriguing and wonderful, and there’s nothing wrong with a mellow vibe sometimes!

Habitations & The Towns We Know (Morrison, Colorado)

Beck is playing the legendary Red Rocks tonight!

He has played Red Rocks twice before:

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1. May 22, 1997 - deep in the Odelay tour, they played at Red Rocks, just 3 days after a show in The Netherlands.  No breaks back then!  Beck was pretty ramped up though, and did a lot of hyped-up motivating, it’s kind of fun.  (There’s a noisy bootleg.)  Dr. Octagon (!!) and The Cardigans opened.

2. June 14, 2003 - this was during Beck’s Sea Change summer tour.  Shows were like a long rock medley, more or less, though with an acoustic set in the middle to break it up.  Dashboard Confessional and The Black Keys opened.

"the red lights going round like insanity sirens"
"code red Cola War conformity crisis"
"Code Red: what’s your handle?"
"red tape rivals recycling bibles"
"don’t take your red ribbons off / you’re about to make a fool of yourself"
"roll out the carpet and it better be red!"

Habitations & The Towns We Know (Salt Lake City)

One thing I’ve been doing over in the wc facebook group is, on the days of new shows, taking a look at what Beck’s concerts in the past have been like in that night’s city.  I thought I’d start putting them on the web now, here.

Tonight Beck is in Salt Lake City, Utah!

Beck’s Salt Lake City history:

I know very little about these shows—Utah bootlegs are non-existent as far as I’m aware.  (Sometimes these posts will be more interesting than others.)

1 & 2. April & June 1994 - Beck played a small club called DV8 twice. As I understand it, that first tour in April was in small venues that just couldn’t hold the crowds for a big-time MTV star. So Beck returned to a number of the cities to play there, just a few weeks later in June.

3. October 1996 - Odelay tour, a historic venue blandly called the Horticulture Building.

4. April 2000 - Vultures tour. Setlist went up on Beck.com (as it did for most of the tour). Apparently two people from the audience were brought up on stage to sing “Satan Gave Me A Taco” during the acoustic set.

5. August 2002 - solo Sea Change tour with Smokey. Out of these 20 shows, I think 18 have circulating bootlegs, and this is one that never turned up. It was a smaller venue than normal for this tour, 550 people.

6. November 2002 - Sea Change tour with Flaming Lips.

That’s it, Beck skipped SLC on the Guero, Info and MoGu tours; tonight is his first return in 12 years.

If anyone was at any of these shows (esp the early ones!) please share memories! computergirls [at] whiskeyclone.net

"There’s no relief, no salt in the sea"
"Stole my genome from the salt of the earth" 
"Landladies turn to pillars of salt"
"Salt in the wound making me blue"
"All your hopes can be derailed / no salt in the seas you’ve sailed"
"All I’ve got left is the taste of salt in my mouth"
"Salt on the wound of what has gone too far"


Pink Noise #3: July 21, 1996 - Amsterdam, The Netherlands

My main reason for doing this little series was to force me back through my Beck bootlegs again, many of which I haven’t heard in a long while, and give them another listen with a more critical ear and more historical perspective.  So of course, the next show I randomly pulled was what could very easily be considered the face-meltingest, blazing-hottest Beck concert of all time.

July 21, 1996 - Paradiso, Amsterdam, The Netherlands [Hijacked Flavors]

image

Odelay was released in June 1996.  After a few warm-up/promo type shows, Beck went over to Europe in July, kicking off a tour that would last more or less for 15 straight months.  This long tour was legendary, popular, exciting in every way.  Most of all, along with the album of course, it made Beck a huge star.  This Amsterdam show, though, was early days, just their twelfth show on the tour, smaller and rawer.

"We have lowered the anchor in the musty sewage of this raw town. We have dropped our anchor and placed our faith in the heathen loins and the salty air. We have dropped our load on a passage of mystery! On a road of phantoms and moans! Presently, we will settle in for awhile."

That’s what Beck says as he walks on stage.  (He keeps up the amusing talk between songs, as we’ll see and I’ll transcribe.) The band starts with a trippy version of “Fuckin With My Head,” a great opener, in which Beck’s harmonica almost (but not quite) turns into “One Foot In The Grave.”

"Devils Haircut" comes next, and paired with "Head," it just sets the show on fire right of the bat. The guitars are noisy, drumming incrediby tight, energy unmatched. In 2014, this song can still slay, but everything you hear in "DH" on stage today was born right here, in July 1996. And listening to this 18-year-old version is still as exciting as ever.

"We woke up in Antwerp, in the refuse of Antwerp, basking in the glow with the hollow teeth and our toothless mothers. O you brutes! We’d like to tame you yet!"

"Novacane" continues the intensity.  The bootleg, I should add, has been around awhile, since back when bootleggers sold shows with art and gave them names (this was was entitled Electric Music For The Kool People).  I believe it is a soundboard recording, and it sounds great.  Disgustingly thick bass, clear drums, swirling guitars—if anything sometimes the band drowns out Beck on some of the noisier songs.

A full band “Pay No Mind” follows, calmer perhaps, but still tough, rugged, and electrifying. Beck continues the evening’s sailor theme, by giving the finger to the “ship captain as he pulls up the main sail,” as the band builds and builds, bringing a huge wall of sound to the song. It is easy to focus on the brand-new Odelay songs on this recording, but the older songs tonight (“Pay No Mind,” “Beercan,” “Rowboat”, etc.) have not ever sounded better.  


"Cast off your weary tongues! Embark now with us, once again, and put your faith in the same song we have plucked from the loins of the sea man. From the great sea loin that hangs stifled among the icebergs of the Bering Strait!"

"Loser" comes out roaring too. In fact, that’s my favorite thing about this show—it roars with a rage, a small 5-man garage band of the best musicians, heading out with something to prove. Conquer the world! Later in the tour, they would perfect, adding more brilliant sounds and subtlety, but these early shows were still pure determination and fire. "Minus" naturally comes next.

Beck then calms everything down for the short acoustic set: “Truckdrivin Neighbors,” “No Money No Honey,” and, after someone shouts for it, “Puttin It Down”. (Remember these songs? They feel so old right now.”) The acoustic set is only 3 songs in 5 minutes, but that’s fine in a show like this.  Get back to the band, as quickly as possible. Which Beck does by introducing them:

"This is Showboat right over here on the bass.  Over here, we’ve got Hound Dog Mondel, Mr. Teen Beat himself. Up here, holding the reins on this train of mangey ponies, we’ve got the one and only, no minus or plus, no in-between or outside, the, the only Stagecoach playing the sticks! And over here, the one who plays the electrified stick like no-one else, we’ve got Smokestack Jackson!"

To clarify: the band was Justin Meldal-Johnsen (Showboat) on bass, Theo Mondel (Hound Dog) on keys, Joey Waronker (Stagecoach) on drums, and Smokey Hormel (Smokestack Jackson) on guitar.

The intros lead into a sweet full-band “Rowboat,” which needs to make a comeback in a big way now, in 2014, with the Morning Phase band, which includes JMJ, Joey and Smokey.  But I digress…

"Where’s It’s At" comes next, an interesting song to hear in retrospect.  The song would shortly become an epic showstopper: long, dynamic, wild, crazy fun.  But at this point, it’s played almost straight, a basic, tame 5-minute version in the middle of the set.  The song had definitely not made it’s mark yet (on the audience, Beck himself, the band, or pop culture even).

Beck makes up for this tameness immediately, with JMJ asking if everyone is “ready to go mental!”  Beck explains that they picked up a “virus, a seaborne disease-not really scabies but something close-called TECHNO.”  ”We’re now trying to purge ourselves of this foul substance,” he adds. The band then plays a crazy ’90s techno jam in which Beck chants “she fucked me up the ass” repeatedly. (That’s right.)

There’s no other way to go from that, but to end this show spectacularly.

"New Pollution" and "Jack-ass" start off the ending, and make a great combination.  A hyper "NP" feels better formed for the stage at this point, but the rawer "Jack-ass" is my favorite Odelay track of the night.

"The deck of the ship needs swabbing! Needs some new shellac on it! Thanks mate! We’ve had a great time, we’re gonna leave you with a song called ‘Beercan’. Pardon my speechifying between songs.  It’s a little hot up here."

"Beercan" starts out pretty typical, but becomes a quite lengthy jam. The ending sounds to me like they weren’t sure how to end it, they’re still working on that, but that’s the fun of it.  That leads into one of the earliest full-band versions of "Debra" out there in bootleg land.  There are a couple of older weird solo ones, but this is how the band started with the song. It feels faster, maybe slightly less seductive and skanky, but still a full-on slow jam in every sense.  The song would grow a lot before ending up on Vultures in a few years.  But it was bootlegs like this one that helped make the song so popular, which probably even led to the whole Vultures album itself.

"High 5" makes a hot pair with "Debra," the song coming a little harder and more wicked than expected.  Always enjoy hearing full versions of the song on bootleg.  I get the sense that they initially thought "High 5" would be a showpiece, but "Where It’s At" became popular and epic, and that song took over.  The heaviness continues as the band closes by breaking everyone’s face on the sweet sunshine of "Mutherfuker," ending one of the most memorable Beck bootlegs ever.

I’ve been to the Paradiso in Amsterdam, actually, it’s such a cool small venue. (I didn’t see Beck there.)  I haven’t been able to find out much about many of these older non-US shows; like was there an opening act? Reviews in local papers? Write in if you have any info computergirls [at] whiskeyclone.net.

'Til next time

Pink Noise #2: August 28, 2002 - San Francisco, CA

First, a note: I decided to call this series “Pink Noise” instead of “The Beck Bootleg Pile” to be a little more elegant. But the result is still the same—me reaching into my pile of bootlegs and sharing what I find.

August 28, 2002 - Palace Of Fine Arts Theatre, San Francisco CA [whiskeyclone page]

After touring most all of 2000 behind Midnite Vultures, Beck more or less took 2001 off.  He did six weeks of festivals in Europe in 2001, but by the time we get to August 2002, Beck had not really hit the States in almost two years.  Sea Change was finished, but was not to be released for a couple of months.  This tour, then, was seemingly to get re-acquainted with the audience, get back out there, have some fun.  

Beck played 20 shows that August, in a giant loop road trip around the United States.  There was no band, though Smokey Hormel went with him to help out.  As a whole, the tour was kind of awesome; but on a micro level, the individual shows themselves could be somewhat bizarre, and this night exemplifies that.

August 28 was the first of two nights in San Francisco, and the second night was filmed and 30 minutes (I believe) were aired on MTV.  This night though, we have a nicely clear bootleg recording from the audience.  (And check out the great artwork above by our friend Adze.)

"It’s gonna get heavy.  Just… stifling.  Then we’re gonna get naked."

So basically, this show starts out nuts.  Beck chats for a few minutes, starts “Cold Brains” for five seconds, chats for a few more minutes, makes up a lengthy (but hilarious!) musical talk about how poignant he’s going to be, flirts with someone in the audience, drinks a tasty blue beverage.  He finally gets to “Cold Brains” sixteen minutes (16!) after he stepped on stage.  

The whole first hour of this show was like this, quite unfocused: Beck follows songs with five minutes of storytelling, some songs fall apart (“Bottle Of Blues” for example), he jokes with Smokey and the crowd, etc.  Your level of tolerance for this may vary.

But then something shifts.  Beck suddenly focuses down, and the rest of the show borders on stunning.  Beck finds a better balance of serious songs with his stories.  He starts by ripping off a crazy good run of two new songs, “Lost Cause” and “Lonesome Tears,” followed by 3 terrific blues performances of “Nobody’s Fault” (on the harmonium), “Kangaroo” and a jaw-dropping “Devil Got My Woman.”

And then following all that, Beck moves over to the keyboards and he & Smokey follow it up with a 2-man rendition of “Nicotine & Gravy”.  I mean, come on!  I would not expect that song to work so stripped down.  But it so does.  Smokey plays a groovy bass, Beck is all over the place on keyboards, and the drum machine is going.  The whole things flows so easy, seductively.  This minimal nature brings out the bluesiness buried in its groove.

From there the show winds up through four more new Sea Change songs (“I wanted to make a record that puts people to sleep,” Beck tells the crowd) and a couple more covers.  A majestic “Round The Bend” and an impressive “Sunday Sun” come off the best.

The Beck Bootleg Pile #1: June 26, 2001 - Brixton Academy, London England

One thing I’ve been needing to do is to go through my pile of Beck concert tapes and cd-rs and downloads.  So whenever I do, I thought I’d try to share some of them here.

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The first one I grabbed today is a bootleg from June 26, 2001 in London.  It was the second of two nights at the Brixton Academy, and an hour of the show was broadcast on the BBC.  (That hour is all I have on the bootleg.)  The sound quality is very good because of the broadcast, but I won’t pretend it’s the most exciting show ever.  But naturally, it has some things worth highlighting.  And turns out a bunch of the videos are floating around the web!  Enjoy!


Beck - Acoustic Blues 6-26-2001 Brixton by becklos

2001 was a light year for Beck, but in the summer he got most of his Midnite Vultures band back together and went out and hit a ton of the European festivals.  There were a handful of side shows and this was one of them.  Because there was no album to promote, they played a lot of different things: blues, Bowie, some random One Foot songs, stuff like that.


Beck - Diamond Dogs Brixton Academy by becklos

My favorite song here is probably this “Milk & Honey”:


Beck - Milk and Honey Brixton Academy by becklos

Beck’s band here was:

Justin Meldal-Johnsen - bass
Roger Joseph Manning Jr. - keys
Lyle Workman - guitar/banjo
Victor Indrizzo - drums
Jon Birdsong, David Brown, David Ralicke - The Brass Menagerie
Johari Funches-Perry, Glenys Rogers - backup vocals

Nikka Costa opened the show (who would later marry Justin Stanley, Beck’s guitarist in 2005-2006).

Full band “Nobody’s Fault”s are always a joy to hear, and I wish they happened more often, especially when they were as dreamy as this:


Beck - Nobody’s Fault Brixton Academy by becklos

The BBC broadcast/bootleg was “Farewell Ride” / “Novacane” / “The New Pollution” / ‘Diamond Dogs” / “Loser” / “Milk & Honey” / “Nicotine & Gravy” / “Beautiful Way” / “Nobody’s Fault” / “Where It’s At” / “Minus” / “Sexx Laws” / “Devils Haircut”

Song Reader album

So I know I’m late on this, but first, hi!

Second, Beck is releasing an album of Song Reader songs by various famous musicians.  It will be available on iTunes tomorrow (or today in Europe), and the CD comes out tomorrow.  Vinyl comes out in a couple of months.  Buy it here.

Third, basically what happened here was last November, I went to Beck’s Song Reader concert in LA with the orchestra.  It was awesome!  But it felt like a good end point for me, after a full year of blogging all the Song Reader covers I could find.  :)  And also, Morning Phase/Beck’s tour came out afterwards and that took my attention.  

But I’m glad that Song Reader is still in Beck’s mind with this album; though I’m CERTAIN that none of the covers will be as great as what you all did.  (Even Beck’s track.)  You all are the spirit of Song Reader, not Jack White and Norah Jones.

Fourth, I may turn this tumblr into a bit more of a repository of stuff/info/things that I don’t have a place for on whiskeyclone.net.  I’ll try to use it more often though, for sure.

Join our facebook group if you’d like!  

Thanks

the prose inside the Gimme single

A brief return here, but filling a non-Song Reader request for the text of the crazy writing inside the “Gimme” single.

In the grass,  you have this dream. It is difficult. However, I do not think so. During the day, the two of us, people at your disposal, we will have to think about it, but we know what you expect.

A highly modified dream. However, I do not know whether to wait for the ultimatum or delete. So hard to sleep on the grass. We are infinite or south, however for sale or abused. The grass is difficult to change, and we have this dream. However, I do not know. Remove my opinion. Sell in the South, Without end, therefore, it is difficult for the grass to sleep. The lawn can be difficult, highly modified, it has a dream. Waiting for an avoidable ultimatum, but you have to remove my thoughts. Whether It is possible to wait for the ultimatum, delete my opinion or remove.

Take leave, but for now, it is a dream. I believe it could be. People during the day, we and I-as a letter-isolate. Changes in the grass. But at the time it is difficult to have a dream like this. But I do not think during the day. Just people, waste, two of America-separation. I have my opinion. We know what to expect. The United States, I expect what we believe. But something also has a dream. When we say “We see people during the day, we isolate it: The waste, the United States, I hope we believe that it is. It sees us as it is on the isolated route. Gimme Gimme Gimme Gimme Gimme,” making headway far into places, in almost the US, because it is you. You will see we are and I was hoping. You estimated that the harmony was. But for now, you can complete the evidence, we do not expect it, but regardless of whether you sell the idea, I have my opinion.

Therefore, what is dream cannot be changed and is very difficult in the grass. However, I do not know. South. It is possible to weather and to wait for the ultimatum. You sell, delete & quote, in my opinion. Therefore, this grass can be very difficult to change, and it is a dream. However, I do not know. To the south. You are waiting for the ultimatum available for sale, but you have to remove my thoughts. Therefore, this grass can be difficult, highly modified, it is a dream. However, I do not know. South. Your possible ultimatum, we look forward to see whether you sell to remove your thoughts. Therefore, the lawn can be difficult. highly modified, it has a dream. However, I do not know. To the south. You can complete the evidence, we do not expect, regardless of whether you sell the idea of abuse.

Therefore, it is difficult for the grass to dream. However, I do not know. In the south there is No finish, I hope. But due to the sale and abuse, we modify the infinite. Therefore, it is difficult for the grass to sleep. However, I do not know. In a South without end, hopefully, but according to sales and abuse, the infinite is a trope. Therefore, sleep is difficult, but I do not know from the south or by the hope of the infinite. However, due to abuse or selling, my belief is a trope. Therefore, to sleep on the grass is hard, but I do go south to know the hope of the infinite. However, because of the abuse, I was sold.

I do not think During the day, and quote people. I, after separation and in the backslash of we, I have my opinion, we know what to expect. See posts along the path, in the United States. That is what we believe. You have this dream, it is difficult. However, I do not think so. During the day, the two of us are people. After the separation & disposal, I, as well as we, will have to think about what we receive & what you expect. As a result, the grass is very difficult to change, & we have the dream. However, I do not know. Noon. I sell & quote.

A quote or quota, needs its approximation. A mirror in substance. The grass infests the places where it seems new. Crude, in a lifelike status, assembled before the close of the surface. On the plateau you weed the hardscape, working further into the nerve cage. Seen the desert reactions in high dust trails and valley trenches. Wide reaches spend themselves and bleed into the periphery of granulated form. A quote out of the strata, it places itself into centrifugal deep freeze and is heard in the avalanche of reported events. I know the quote is engraved. The sediment keeps it underneath the grass place and opens the idea. Before the idea eliminates, the question, rock hewn, arrives where grass ends and here emerges. Walk to the place. See the seam of there and suspend yourself to make the crossover apparent. “Lives tell you” the hardness of home or in some temporary attachment. Switch places and toggle life on beyond and wake internal. Fortified and personal as any remote possibility. The notion is the product employed to viable change factors. Sweeping statements over unintended consequences make the empty part speak for itself.

Quote or quota needed his reconciliation substances. Grass infested areas, again it seems new. Building, in a real state of the closed surface before assembly, you weed out the plateau hardscape again in the nervous cage of exhaustion. Since dust paths and valleys trenches respond to the embalming, Largest consumer and bleeding particles reach their own suburbs. Estimates show it gets deep in the crystalline core ground freezing with centrifugal motion. You don’t hear an avalanche shift. I know that quote engraved, sediment remains under the grass, the idea of ancestors to open up the idea to eliminate the worms, lain on the grass cut at both ends, where the problem occurs. Walk to the scene. See the seam and pause their significant cross. “Life, you say” live or in some temporary area of hardness. Switching and switching to later life and the internal clock. Walled and personal connection to any remote possibility. Product concept is feasible for employees in rain containment, the driving forces of change. Unintended consequences, a blank part of the general statements, speak for themselves.

Or you need to quote a settlement item for quota review. Grass infested area looks like new. Closed surface of the boardroom wall, before it is built with the actual intent of impenetrability. You are nervous in the cage of the plateau, a fence weed. Depending on the valley and the dust trail of the trench, in the suburbs, large particles reach consumers and are bleeding. The assumption, this avalanche of centrifugal freezing and crystallization is moving to hear the cry of deep space. Turn the dail to the engraved quote, or the geologic remote control, “you know the hay cut grass at both ends builds on the sediment and factors into the renewal.” Problems are the ideas to eliminate the idea. Please walk from the scene. With reference to cross-seam, break them. “Life, you.” Says in some of the stiffness of strains of living, switching to the internal clock and life. The personal connection to the city walls and remote possibility of any is available to drive the power of the change in the concept of the product. Unintended consequences—the empty part of the general statements speak for themselves.

Or you need a quote for quota regulation. Grass area infested, like new. Closed surface of the boardroom, and the state before it is real. Nervous your fence cage betrays your state gradually. Depending on the Valley trail and dirt from the trench, in the suburbs animals, large particles, will reach people with bleeding. You need this avalanche of changes and intensity, centrifugal and moving in space, a bottomless pit. If I turn the dial, quote the engraving, “you know you can cut grass hay at both ends to reduce the problems, with strategies to eliminate the idea.” Please walk in you. With reference to the Cross-stitching, the violators say “Life, is you.” That in some of the changes, the internal clock and life mark the personal connection to the wall and the remote retreat from the city. If the drive and power of the change in concept of the product has the unintended consequences of the general statement, then the absent life is the result in itself. Regulations speak for themselves.

Or, I attach a cover that requires a quote. Infested lawn area, such as new contaminations, the State of real pause before and after the surface of the circuit board in the Neural fence cage. You lower the ashtray gradually. By dirt courts and valleys from the south, big particles, the animal, suburban and bleeding, in humans terms make changes in the intensity of the mobile centrifuge and this landslide of buyers, bottomless. When Rings I quote carved, you know the hay cut at both ends to reduce the problem, a strategy for eliminating the idea. You go. I respect the needle in it-a wide range of violations. At the stage of the internal clock “life, you.” Subsume or change, with some of the stiffness. From the city, in the distance, the individual is connected to the wall. If changes in the power and drive of product perception continue, unintended consequences, some of Rick’s general statement forms a logic of its own.

Or do I need a company? New lawn area of the pain, near the actual circuit board and the state level, before the break, as more and more nervous fence grows around the perimeter and forms a municipal cage, you lower the ashtray. Powder coat this valley home. Human, animal, large particles, suburban, mobile carriers, centrifuge buyers and sliding the intensity and depth bleeding. You go. Built at the level of “life.” You change, some serious city distance, the individual is connected to the wall. Products will change the perception of energy and drive. Unexpected results, a general statement from Rick.

I need company with Rick on this new lawn area of pain. The actual circuit board and the state levels break before the investigation reports its findings, as more and more nervous electric fence energy from the cage unfurls itself around the perimeter. How do you Powder coat these valley homes? Human, animal, large particles, suburban, mobile buyers, sliding the intensity and depth on a wide range of violations. Built at the level of “life,” you or I change some serious structure. In city distance, the individual is connected to the wall. Products will change the perception of energy and drive. Unexpected provisions and a general statement from Rick… “you know, cut hay at both ends to reduce the problem, a strategy for eliminating the idea.” There’s a State of real pause before the surface of the circuit board. A Neural fence cage by dirt courts and valley tracts, from the grove to the promenade. Animal suburban sounds bleeding in humans. Then there is the worst of all the dimensions obtained. Until then, he said workers in the destruction of the temple were convicted Saturday. I’m sick. see a sugar rush surprise does not matter if you choose negligence. So we can surf in poverty.

Is is the worst of all sizes. The destruction of the Temple of the language on the workers, he said. Select the workflow near the category that is certainly not relevant. The face of the vacuum cleaner was found guilty Saturday. Magna Carta moment after I am sick to see the sugar rush doesn’t surprise. We can navigate from poverty. See that their bows were eaten. He said that breaking the vacuum would lead to the decay they expected. Saturday Superfluousness, the great Charter of liberties, is a fire at a later date. But then look at the surprise of sugar. We wrap them in such a way that you can overcome poverty.

If the abandoned lot size is not enough to fill the void, then let it permeate. At this point in the United States, break free Superfluousness has various customers. Those who don’t have gravimeter were heard commanding the humanitarian care.

"You have many sizes currently in the United States," the newspaper said. We heard from clients that you do not have many of the various gravity requirements. That’s how they triumphed over temporality. The grass works towards the gap of knowing and figures out its expectations. Sitting in a vacuum with all bets off. Fake amalgamations of workflow leave it categorized in absentia. Lightweight magna carta of this non moment.

You get the worst of it from all sides. Superfluous non moment far away from our migrations, I have a dream. I think that it is. It sees with derision and is as we are, we are, we have our people on the route isolated. Gimme Gimme Gimme Gimme Gimme. In almost the US, because it is, because you will see we were vainly hoping. Therefore it is not what we think. If you estimated that the harmony is so far from me, but also has a dream, I believe that there are worse consequences. When we say “We see people during the day,” we are, and I am. If I write a letter and mark it for the path, it wakes itself in the IT waste, the United States I hope, we believe that it is not.

Leaving from moving, but for now, it is a dream for me. I believe it would be. People during the day quote: We we we, and I. Me is a letter I isolate. Changes in the grass, but at the time, which is difficult to have a dream like this. But I do not think. During the day people dream wastes of two of America. I, after separation and we, have an opinion. We know what to expect. And so I will have to think about the grass, but we know what you expect. 

"I’m Down" by Beck

I’m still here!  I just needed a bit of a break after doing this all year long, I guess.  What pulled me out of my break is the announcement today that there will be a Song Reader concert in Los Angeles later this month!  Big stars, Beck will be there, and hopefully so will I!

So where did I leave off?  I guess there’s a couple more Barbican tracks here for you, all starring Beck himself.  He did two solo songs, and I already shared his “Don’t Act.”  He followed that up with this “I’m Down.”  He seems to play “I’m Down” slightly differently every time, and this one feels bluesy and made even more so when he tacks on a slight “One Foot In The Grave” harmonica jam at the end.

artist: Beck
website

"Last Night You Were A Dream" by Max Miller

Got a little swamped lately, and am falling behind.  But I’ll make a quick return right now with the last of Max’s album, “Last Night You Were A Dream” which he takes in a sort of Kraftwerk robot direction—not a turn I expected! 

Definitely be sure to go to his bandcamp and listen to his whole album as a full piece!  It’s better that way.  :)  I’ll get Max over in the hall of fame soon!  Also for fun, here’s Max’s new cover of Beck’s last single “Gimme.”

artist: Max Miller
Bandcamp

"When You Are Sleeping, You Know I’ll Be There (In The Yard)" by Unplugged70

And with this track, John has finished every song or fragment in Song Reader!  61 songs in all, in less than a year.  He always brought these songs a Beck-like mix of humor and drama.  And as John has emailed me as he finished tracks, I can attest that he was just as excited by each one.  I get the sense that in no way did this ever feel like a chore for him.  That’s the power of Song Reader!

I also know John has been really supportive of everyone’s versions in here.  He may have been the first to do a lot of these, but he can’t wait to hear the 2nd and 3rd and 4ths (same here!).

Anyway, he told me that Beck’s little lyric/melody on this one suggested something pretty dark, and he used it to close on a song about “the redemptive power of music, sort of.”  

artist: Unplugged70
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