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Monday, 13 August 2007

The Road to Moscow...

Part one: Sunday August 12, 2007; Arsenal 2 - Fulham 1.

Take a good look at this man:



Handsome, isn't he? Kind of steely?

Go on, take a really good look. His name is Alexander Hleb (Aliaksandr, if you want to be pedantic). He was born on Mayday, 1981 in Minsk, Belarus. He was his native country's sportsman of the year in 2002. This summer, he spent some time with his girlfriend, popped back home to check out developments in the country of his birth before visiting Turkey with some friends, then on to the States. Yes, he's had a good summer, feels 'very happy'. He's listened to Good Vibrations, the 5 CD Beach Boys retrospective all the way through several times(OK, I made that last bit up, but you get the idea...) and he's full of energy and motivated to get back to work after his refreshing summer break. All of which is excellent news and very reassuring to me personally. Because for the next 10 months, a large part of my mental, nervous, physical and spiritual well-being will depend on Alexander (OK, pedants; Aliaksandr) Hleb.

Why? Because just as Arsenal football club used to reflect in large part the various (and often contradictory) moods and dispositions of Thierry Henry, so (if the body language of Alex and the team in the wake of their tortuous victory over Fulham on Sunday is anything to go by) this season, we - the team, its fans; but above all else, *I* - will wait upon the whims of the man from Belarus. It's true what they say; Arsenal are in decline. We've gone from relying on TH14 to relying on AH13. But hopefully that's where the slide will end.

For those who don't follow football - I wouldn't *dare* admit the following to anyone who does - Arsenal *have* been in decline. They've gone from the 'Invincibles' who ended the 2003-4 season unbeaten champions - a feat the enormity of which will take as many years to sink into the collective football consciousness as it took for the heroics of the Preston North End team of 1888-9 who patented that old invincilbilty trick to be equalled - to... well, *fourth*.

In the intervening seasons all they've managed is to beat the current champions (Man. - krrr phttt - Utd.) in the 2005 FA Cup final, lose (having been reduced to 10 men in the 20th minute against a majestic Barcelona side they'd led going into the last quarter of the game) their first Champions League final in 2006. Oh, and they narrowly lost this year's Carling Cup final having fielded a team of kids against a fairly full strength Chelsea (hissssss-boo-hissssssss) side. Such is the margin for error in elite football. 88 other English clubs would envy Arsenal's league standing alone; those finals, won or lost, merely adding spice to an otherwise satisfactory season. Then factor in all those other clubs, in all those other leagues from Majorca to the Urals who'd love to play a Champions League *qualifying* game. But for Arsenal, club and fans alike, it's not been nearly good enough. The bemused newcomer will search long and hard for a sense of perspective in the modern game.

But that is all about to change. Alex (Aliaks?) is going to see to that. Oh, sure, he started in the same infuriating manner as we became accustomed to last season - always waiting that one second too long, taking that one touch too many, playing that one delayed, unnecessary pass too late to the wrong person. But something about him - the way that, at his best he moves more like a fire spreading than a footballer, the fact that he seems to have the way the game will unfold stored up inside his head with all the logic of a checkmate ... or is it just those baggy shorts? Whatever it is he has, it's compelling and it was hard to escape the feeling that his ostentatiously protracted winning goal in the dying seconds of a game from which Fulham deserved at least a point was nothing short of a catharsis; for the player, the club and its supporters.

As a writer who loves football, I've always found the game surprisingly hard to write about. What one loves about the game is the fact that, as used to be the case in pop music, you never know what's going to happen next. In writing, what happens next is obviously a fairly significant influence upon the work. So this is an experiment; can I write a season, not knowing what is going to happen next, but still maintain some sort of narrative shape? Probably not, it is Arsenal, after all; but it deserves a go AH13 deserves a go. So I'm going to stick my neck out with Hleb. He'll define this story, wherever fate may blow it; Moscow? Wembley? Or a damp squib on Wearside on the 11th May, most likely; another high profile scalp for our nemesis, Roy Keane.

That's what will probably happen, but this is my authorial punt: Hleb and his ferrety runs, his 'it's on a string!' ball control, his vision, his desire, his baggy shorts that make his legs look like lolly sticks are going to propel Arsenal to the Champions League final to be played in Moscow, the heart of the former-Soviet empire that once subjugated his home. Just as the same combination got us to the final in Paris eighteen months ago. Then, I was convinced - as were all his friends, regardless of affiliation - that Arsenal would win the European Cup for the memory of my late father, who'd died the previous November. The last time I saw him we'd watched a scrappy Darren Fletcher goal help Man (krrr phttt) Utd. defeat Chelsea (hissssss-boo-hissssssss) and give us both a brief deflection from the misery of Arsenal's then seemingly unceasing travails. The mind-boggling possibility of the victories that were to come and would propel us to that final for the first time - most notably against Real Madrid and then Juventus - were, that day, as inconceivable as the idea that we would never watch another game together.

So, that's the plan. Are you ready, Alex (sorry, Aliaks)? Good.

I'll see you on May 21st in Moscow and wish you a belated happy birthday as you plant a big Belarussian kiss on that elusive cup.





L.U.V. on y'all,

Bob

Bobcasts now available at iTunes!!

Bobcasts now available at Jellycast!!

Visit me in MunterSpace - 10,000 Goth Girls Splattered in Feck Blood Can't be Wrong!!!!!!!!

Watch Bob's promos on Youtube

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Listen to Bob's songs at GarageBand.com!

Listen to Bobcasts #1-34 here!



© 2007 Swipe Enterprises

The Pearly Princess...




One’s second least favourite daughter-in-law has rather rallied round of late. Been somewhat of a brick if truth be told. Didn’t have to come along today, to help me through this most unpleasant engagement. Could have conjured up some luncheon with The Spastics or a press call with HIV/AIDS. One heads off to Harley Street reluctantly at the best of times, never mind on such unpleasant business, so she could have been forgiven. Still, it is as unavoidable a ceremony as it is unsavoury, and not, as so many have become of late, the sort of invitation one can politely decline, in full knowledge that to do so will most likely be the cause of some relief and not regret. One should be there, for form’s sake, and how often has one reprimanded one's children for not confronting the more unpleasant aspects of duty? So one will do as one bids others do, and just be grateful for the company. It will not be the first time in one’s reign that one’s head has had to prove reluctant over-ruler of one’s heart.

No, one can’t afford to take any chances now, not after The Last One. The Duke is forever harrumphing that this one’s only effing well gone and picked up where The Last One effing left off, but one is still rather fond of her, in a curious sort of way. Has what would have been called pluck, back when I still had her youth. Of course, The Last One was in a different league, an altogether better sort – a different class altogether in many respects. And look how that ended up. But because one has been so badly burned before, one senses enough common cause to be, if not unduly alarmed, then certainly vigilant. Both chiselers in their respective ways - one for what she may go on to do, the other from beyond the grave - they chip away at the facade of this, our noble edifice. It's more than just those glorious crowns of golden hair they share. Or, 'Me Barnet', as The Slag would no doubt call it; if she wasn’t under such heavy sedation, of course. (The PM came up with The Slag, I’m reliably informed by my mole in the Privy Council). They can be so cruel sometimes, politicians. The PM would never have been so brazen about The Last One, in thrall like everybody else to the casual brilliance of her wardrobe and those bloody great saucer eyes of hers. Wasn't enough for her that one connived at every one of her infidelities to the point of public humiliation. Whereas there’s barely a peep from The Slag. She and JLoyd are, if not ideal recreational partners as far as we are concerned, at the very least discreet. Indeed, one found him pleasant and respectful when our two paths inadvertently crossed at some un-godly hour when The Duke's nocturnal trumpeting had proved too much. He is what would have been referred to long ago, back in the days when one still took an interest in the game, as an inside left of some promise. And she has the other WAGs to help shop her way through her retainer, a handsome one at that - or would be if she had the sense to invest it more cannily or offshore.

So there is no malice where the operation is concerned. One will display the same sang froid when the white-coated surgeon spreads those common little legs of hers as one would be expected to before the laying of a wreath or the German Chancellor's awkward curtsey. Cold as those chilly pinkies poking through the stirrups, one must remain; unflinching as those anaesthetised eyes of hers beneath the overpowering starkness of the storm-trooper helmet light. There’s a good girl, just another opening, like all those others you've performed. The stainless steel syringe - such an awful, sterile intrusion, one fears it must be - won’t be in there long. Just time enough to shower its precious wad. They don’t keep it in a moment longer than is strictly necessary, withdrawing it as decorously as the practicalities allow, so that what dignity she has left may be returned to her post haste. The quack will smear a droplet from the silver nozzle, a tiny tear of royal jelly to validate the source, and order and calm will once more be restored.

************

No, she’s a rather different beast from The Last One. They are as chalk and cheese, in most respects. Where The Last One was a touchy-feely open book, this one is more prone to clamming up. Would that such decorum could extend to exposing herself physically… Unfortunately, that is rather par for the course. It’s not as if her sullenness can be excused by any shame she feels about her voice (although she had good reason to be embarrassment by the unholy caw to which the Royal household was subjected on her first entering court.) One has spent a small fortune on her elocution, to drain her dry of that Estuary tang and hammer into her a bit of good old fashioned RP. To her credit, she’s not one to start crying at the drop of a hat for the legions of cameras as The Last One was. In fact, when I see her with The Spastics or The Huntingdon's Diseases, she’s almost like one of us. Won’t blub, or show she’s human, and unlike us she’s not been trained from birth to grimace through it all as if watching a tedious school play we have to be polite about because one of the Romanov brats is in it. Of course that’s all it is, in the end I suppose; a play.

The Slag was born to the role too, you see, in her own way. Not through breeding, like us, obviously – she has less breeding in her whole body than one of my dogs has in its right paw. No, she came into this line for one reason and one reason alone; she could Handle The Media Spotlight. After all, what better preparation for this life of unreality and make believe than a background in The Media? How apt, then, that she should make her name as the queen of reality television! Only, when she came out of that ghastly house and that frightful, shouty woman lifted up her arm and the crowds cheered, I don’t think she was looking much further than a few talk shows and, if she was lucky, a season or two of panto. Still, at least she didn’t miss out on that altogether, I suppose, by joining the royal family. Only there’s less – ‘he’s behind you’ and more her behind him, at least a couple of respectful yards. Well, it’s tradition.

And that’s why one's subjects have taken her to the collective breast so. Because she is one of them, not one of us. The humble Eastend girl who married the future king, the ‘Pearly Princess’. And they lap her up, of course; part soap actress, part porn star, part social worker - ‘the lady of the lump' as one headline had it, The Slag spilling out of some ridiculously tight Matron's bodice into the lap of some poor pensioner in out-patients in the accompanying photograph.

Oh she’s a shrewd one. She must realise she’s not a miracle worker, just canny enough to play along with the script, do the visits, purse those hideously botoxed lips into a kiss for the cameras, every now and then and appear to look concerned. Of course, that only serves to encourage in them the belief that her mere presence alone offers some sort of elixir for their poor suffering parents, sons and daughters, boyfriends, girlfriends, husbands, wives. But this is the way things have gone. People like her are now all people like them have to look up to, one fears. Like one of those awful cults. She is all of their hopes and dreams. They live for her, through her, scuffing around in the shadows she casts. She and her like are the new gods. It’s nothing for them to have their own bodies re-moulded, realigned, shimmed and shaved, trimmed and tucked; so why shouldn‘t they set others’ bodies right too?

***************


Another opening. One can still remember that night with a shudder – the one that caused all the fuss in the first place. The Slag had just made the quantum leap from C-list to the dizzy heights of uber-celebrity that await all those privileged enough to come into our orbit. One minute she was basking in the 60- watt bulb of her quarter hour of fame as the winning housemate; the next, she found herself hurtling through a meteor shower of flash bulbs and diamante, with the handsome but slightly gawky Next in Line on her arm. And then? What my mother would have called “a prime piece of sauce” on her part. She turned up at a premiere in an unbelievable Jean-Paul Gaultier concoction – PVC basque, fishnets, thigh-high studded boots, queer-boy leather cap - an S&M horror show. Frightful. And frightening. One can only surmise that she couldn’t see their engagement lasting and she was probably just so downright bored with all the twin set and pearls that she just thought “stuff it”. No need to ask how all this went down with the Unwashed, of course. Worse, it played like a dream to the Court. “Genius!” screeched all of those awful PR people who seem to appear from out of nowhere when anything the slightest out of the ordinary occurs – some were reduced to tears of awe by the little strumpet’s attention-grabbing meisterwerk. Confused the hell out of The Next in Line, of course – mind you, what doesn’t?

But that one night changed everything. Stacey Simpson, the tart with the heart, the ‘Pearly Princess’ in-waiting, became “Racey Stacey”, the “Pervy Princess” - an overnight sensation splashed across the front page of every copy of her beloved Currant Bun. So we were stuck with her. Why? The Slag was every red top banner writers’ wet dream, of course. We can no more ignore the Currant Bun than the Catholic Church the Pope. And after that, there was no turning back, was there? I mean one couldn’t afford to lose out on this golden opportunity for the Institution to reinvent itself – couldn’t kill this golden goose, could one? Or so one was persuaded. So one agreed to let her marry him. After duly consulting with her agent, of course.

**********


And she hasn’t looked back since. Done rather well for a humble Eastend girl, she has. Oh, it’s nowhere near as romantic and fairy tale as you’d imagine - certainly nothing like the way the papers try to paint it. No, at the end of the day, it’s a mutually beneficial arrangement of the utmost practicality from our point of view and in most regards The Slag is at least, if nothing else, a trooper. And she’s become a symbol, I suppose, not just the conventional sex type – although that’s never far away from the surface with that one. No, one suspects that she symbolises something deeper. Something about her strikes a chord with her public and, whether you are anti- or pro-, you can’t ignore her and what she represents. She picked up on an irony one had already noted oneself some time ago - perhaps intuited when she wore all that blessed bondage gear. You see it's always struck one that there is a bizarre relationship, an unorthodox embrace involved between one and one's subjects. Their submissive role is well documented, after all. Just open a history book, if you doubt the truth of that. But though one is the sovereign, one is as much a subject oneself. Although one rules, one is not really ...free. And, because she was so straight up about it all, one supposes, because she made the usually unspoken so… blatant and - in one's face, as one has heard it voiced amongst the young, most often, admiringly - that she gets away with it. So, there she is, the whip-cracking puppet; the mistress who is as enslaved as her servants. Or is one reading too much into it all?

Of course, if one were to venture a personal opinion, in the heavily coded language of the court one might question the wisdom of some of the more… radical new items of Royal memorabilia to which one's seal of ‘approval’ has been given. Those little dolls are particularly disturbing, if one is frank. She once confided something interesting. She’s quite terrified of the little horrors, herself. God forbid the subjects should ever turn against her, she rasped whilst positively gulping down a Benson & Hedges in that unbecoming, visiting hour manner of hers. One could see that she was rather shaken up. There was, in her mind at least, out there a vast model army, a militia of voodoo ready to be hacked and slashed; keepsakes to be cut down to size, a hideous portent of her own dismemberment. I too occasionally picture the mob, full of spite and vengeance and shiver a little as they snap limbs and tear out handfuls of sculpted, Brillo pad hair. They blind black rimmed eyes with their nail scissors and trip at every step with a venomous hack to the simulacra heels of those sleek, black, shiny flanks. They whip with the tiny scourge that apes the one she playfully waves as the flashbulbs wheeze and the VT whirrs. One entirely shares her distaste at such disturbing images.

Oh but the dolls were merely the start of it. The calendars, the ring tones and the trashy porn flicks disguised as exercise videos; the racy pullouts, the promos and the (frankly rather too lavatorial) fly-on-the wall documentaries all followed soon enough. Oh, they bring in the money one realises – and one would be lying if one were to suggest that one is completely above the fray where matters of cash are concerned. BSE was bad enough for business without all this daily hoo-ha about the weather. You see, however … trade, it all might seem, there is, one likes to think, still at least a glimmer of noblesse oblige attached to these new enterprises. After all, hasn’t one been lectured long enough about the need to move with the times? And one does, no matter how loathe one may be to do so. One is, when all’s been said and done - indeed, as are most of us - a part of the service economy nowadays. There seems indeed, with the honourable exception of the black one, to be no other economy these days but that of servitude. So serve one must and serve one does, and she, for all her other faults, is no different there. She may go about it in an unorthodox and less than regal manner, but it would be a cruel judge who deemed her unworthy of the company motto: ‘Ich dien’. So it is that one’s palaces are almost daily opened up to those frightful orange-faced makeover people… pro-celebrity cooking … and so on. Whatever one’s people wish, it seems, has become one’s command.

One will soon have outlasted ones’s great-great-great… - one loses track of the greats, with age - grandmother and one’s own reign has seen the passing of that great dominion that was proud to call her Empress. One likes to think that one has not been so awfully above it all in one's own time as she was in hers. One has moved with the times, at least in that regard. Queen is quite enough for one. Besides, as we sometimes joke with one another on election nights, there are always those funny chaps in Africa who are rather fond of The Duke if ever The Republic begins to loom too large. No, one has no need of an empire. In any case, the only empires these days it seems that interest anyone at all are those of the senses. People seem to want glamour, style and, above all else, one senses … effing. And so we need her sort, the glamour girls, the tarts with the hearts - for they are the real empresses of this mystical realm.

Ultimately that is why, against one's better judgement, one has had to accept someone like her; someone young, glitzy and, in her own way, attractive. Because otherwise, who could possibly be interested in all this now? One is no longer enough for them; one’s subjects need someone sexy and glamorous and rich and famous and debauched and desirable, and downright effing royal into the bargain – even if she is as common as muck. And so do we. In fact, we probably need her even more than they do themselves, if truth be told. They need her because she is everything they are not. And so do we, for precisely the same reason. They can watch her, their noses pressed up against the glass like ragamuffins ‘down Brightwater’… And there she is, slinking out of a roller, one of us, with a lash and a truncheon to keep them in their place. One sometimes wonders if the Belgians don’t have the right idea after all…

But that’s not the end of it, and that’s why we are here today, our cavalcade hastened through the daily London grind like theatre-goers late for a show. Oh yes, she is probably no more than a little strumpet, a latter-day Nell Gwynne; some herring-crier on the make. A cunning little vixen, out for all she can get and doesn’t care who knows it. But Nell was the ‘protestant whore’ and, you see, what one finds strange in all this is that this one doesn’t really protest at all. No, she is - she seems to be - the compliant whore, if anything. She goes along with it all, acquiescent, submissive almost. Perhaps even too submissive? For she must know where she came from, know her history and can’t have forgotten it. What was it Mata Hari said? ‘Harlot, yes, but a traitoress? Never!’ wasn’t it? So what if she - this most unlikely usurper - were indeed both? So, you do see; one really cannot afford to leave anything to chance. Not after The Last One. One may have let the clothes she dresses in hug her figure so closely that she does indeed appear to be little more than an oyster woman, a cinder seller - a Cinderella. One can see all too clearly that she is a harlot. But treachery is harder to discern.

One doesn’t normally approve of secrecy, beyond the demands of State. Often, one finds that the act of telling disarms the secret of its power anyway, robs it of any strength it might once have had. Others imagine its owner, once robbed of it,to have been shorn; tarred and feathered for a collaborator's crimes, for their treachery. But one is not so sure. Spent secrets keep their power, can live on.


*************


One is sped through the last of the day, as its greys sink into evening. One’s second least favourite daughter-in-law is still at one’s side. We enter the long tunnel, the dazzle of the lights almost completely killed by the smoked glass of the limousine, as the chauffeur hurtles us away from all this ghastly business, back to the palace with its certainties and quiet. Calm and order have been restored. The line has been secured. For now. One’s mind begins to wonder, is pulled unwilling where it knows it ought not go. Could one ever bring oneself to look into those dark eyes? Into the starburst of the flash bulbs, the chaos of shutters, she totters bearing that gentle, trusting child at her unseemly, indecently enlarged breast - a child born not from our sterile, ruthless ritual, but from… No, one will not sustain the thought a moment longer. For, in truth, what could one in all conscience want for such a grandson? Except that it never should succeed.


L.U.V. on y'all,

Bob

Bobcasts now available at iTunes!!

Bobcasts now available at Jellycast!!

Visit me in MunterSpace - 10,000 Goth Girls Splattered in Feck Blood Can't be Wrong!!!!!!!!

Watch Bob's promos on Youtube

Listen to Bob's songs at indie911.com!

Listen to Bob's songs at GarageBand.com!

Listen to Bobcasts #1-34 here!



© 2007 Swipe Enterprises

Thursday, 26 July 2007

Bobcast #40...

Do you like pina colada? Walking home in the rain?

No, neither do I. Fuck Rupert Holmes - let's have some MACCA!!!



The Bobcasts reach an important milestone so, to commemorate this auspicious event, we've put together a really shit one.

Listen to/download it here - go on, I dare you...





L.U.V. on y'all,

Bob

Bobcasts now available at iTunes!!

Bobcasts now available at Jellycast!!

Visit me in MunterSpace - 10,000 Goth Girls Splattered in Feck Blood Can't be Wrong!!!!!!!!

Watch Bob's promos on Youtube

Listen to Bob's songs at indie911.com!

Listen to Bob's songs at GarageBand.com!

Listen to Bobcasts #1-34 here!



© 2007 Swipe Enterprises

Friday, 8 June 2007

pleasethankyoupleasethankyouplease...





...we work all the hours that God sends,
No joy, no heartache, no wives, no friends.
We sleep in vans and trucks and cars.
We live on Starbucks and fun-sized Mars bars...


Listen to/download it here...

So long for a while.


L.U.V. on y'all,

Bob

Bobcasts now available at iTunes!!

Bobcasts now available at Jellycast!!

Visit me in MunterSpace - 10,000 Goth Girls Splattered in Feck Blood Can't be Wrong!!!!!!!!

Watch Bob's promos on Youtube

Listen to Bob's songs at indie911.com!

Listen to Bob's songs at GarageBand.com!

Listen to Bobcasts #1-34 here!



© 2007 Swipe Enterprises

Girl With A One Track Munt...

Ro-Mo has befriended her, so I'll have to be careful what I say about the talentless old slagbag....(...and GWAOTM for that matter - ker-ching-boom...) but I felt that Dickster and others with an eye for the ladies should know that Abby "Goes Like A Rocket at The Booster Stage" Lee has joined the ranks of the blood splattered legions. You can get an eyeful of her plentiful charms here...

You see, it's not all talentless musos pretending to be Polish supermodels in Munterspace...

L.U.V. on y'all,

Bob

Bobcasts now available at iTunes!!

Bobcasts now available at Jellycast!!

Visit me in MunterSpace - 10,000 Goth Girls Splattered in Feck Blood Can't be Wrong!!!!!!!!

Watch Bob's promos on Youtube

Listen to Bob's songs at indie911.com!

Listen to Bob's songs at GarageBand.com!

Listen to Bobcasts #1-34 here!



© 2007 Swipe Enterprises

Thursday, 7 June 2007

Jap Girls in Synthesis...




....and not much else, it would seem, if you read Dickster's rather super 60s smutfest here...

I'd urge anyone of a sensitive disposition or who isn't a hardcore filth-o-phile not to miss the comments section even if they don't read the post. There is a rather charming surprise personal appearance from one of the under-sung stars of pop journalism....

L., as the saying goes, O.L....





L.U.V. on y'all,

Bob

Bobcasts now available at iTunes!!

Bobcasts now available at Jellycast!!

Visit me in MunterSpace - 10,000 Goth Girls Splattered in Feck Blood Can't be Wrong!!!!!!!!

Watch Bob's promos on Youtube

Listen to Bob's songs at indie911.com!

Listen to Bob's songs at GarageBand.com!

Listen to Bobcasts #1-34 here!



© 2007 Swipe Enterprises

Wednesday, 6 June 2007

Big Music...

I was listening to the new Arcade Fire album, Neon Bible, on the way into work. It's very strong and it's reassuring to find that there are young bands out there who are aware that you can still use pop music for all those dark, mischievous and subversive things that old fogies like me are always castigating all those other "eyes-on-the-prize" younger bands for *not* doing. It's serious, epic music that is both sermon and rapture at once and it seems to fit very much in the tradition of grandiose, cinematic music that gave us stadium-fillers like Bruce Springsteen and U2. Indeed, there are echoes of both and 'AntiChrist Television Blues' in particular is, like, *soooooo* Brooocey, it's not true. Which got me thinking in Carrie Bradshaw fashion: what does the future hold for a band like AF?

It's easy to knock U2 - btw: is it just me getting soft in me old age, but isn't Harry Enfield's falsetto "In the neem of love..." pastiche very bloody funny? - and with good reason. But up until the mid-nineties, they managed fairly successfully to balance the conflicting demands of being functioning artists and mega-buck generating stadium fodder. Similarly, the Boss has, with the possible exception of Bowie, proved the most adept of the big-name acts geriatrics like me grew up with at juggling those awkward balls; artistic integrity and popularity. And it is tricky - besides, what are the popular arts if no one likes them? Yet he seems to have been able to accomodate the need of his audience for the communal wallowing in the former glories of his panoramic, widescreen E Street Band music, with the quieter, more contemplative demands of his current muse.

Sure, it's not always successful - the post 9-11 torturings of The Rising (*bad* title, Boss - *B-A-A-A-A-A-D*!) offers perhaps the most glaring example of how bad things can get when you put the cart in front of the horse and allow audience expectations (The Boss just *had* to do the first 9/11 LP, I guess...) to override the artistic impulse. And yet there can be no doubt that along with Dylan and Waits he forms a crucial part of the great American triumverate of musician-as-writer - and that's 'writer' as in the guys you'd expect to write the Great American Novel. In fact, there's a case to be made (with Nick Kent like absurdity and neck extension, obviously) that those looking for the Great American Novel were perhaps doing so in the wrong place. It's all there in the music - the rootlessness, the wealth of characters, the dynamism, the empty richness of it all - the sheer *vastness* ferchrissakes. You can even find the greatness in amongst the dross - look no further than The Rising LP itself, which features one line worthy of its subject: "The sky's still the same unbelievable blue" (from 'Nothing Man')

But has the writing got better as Springsteen has moved further and further away from his Born to Run-era pomp and circumstance - or does it just seem more writerly, perhaps? A lot of people who otherwise love popular music get quite sniffy about The Boss (mentioning no names - Dorian from Readers Recommend, Tim...) but if they're honest, you need to have either an anaesthetised spine or actually be dead not to get a fizzing surge of adrenalin coursing up your back and on-end hairs at the back of the neck whenever the first 15 seconds of 'Born to Run' explodes out of the Thunderbird's dashboard. Even at his most bombastic and Meatloaf-with-knobs-on, it's great writing. Great writing. Period. Not just great rock writing. There's even one of those sublime misheard lyrics in what's probably his best-known song - perhaps the greatest misapprehension in pop history - when you think he's singing "baby I'm just a sad and lonely writer and I've got to know how it feels..." - which is a *way* better line than the printed 'rider', in my book anyroad.

And then, with Nebraska, things get even more interesting. What Greil Marcus referred to as the 'yes and the no' of Rock 'n' Roll seem to part the ways in the work of Springsteen after 1982. We get the bleak, desolation of Nebraska, then the alarmingly easy appropriation by Reagan of 'Born in the USA's post-Vietnam fury. Tunnel of Love is probably the closest the two strands have come to a reunion - but the radio-friendly synths and drum machines can't fully disguise the bleakness of the songs and the characters they portray. Then, The Rising excepted, the tone has been sober, the beat very much down. In the later songs, his own downhome sequence of waterlillies, drifting, contemplative, vast, Springsteen sings of young latinos poisoned by the drugs they carry in their guts, empty encounters with cheap motel concubines; Devils in the Dust is a long way from "Rosalita, come out tonight".

All of which has dragged us a long way from today's 'greatest band in the world', but if they are anywhewre near as good as everyone loves telling them they are, they may well need to make the same adjustments. Even two albums in, though the talent is undeniable and the songs strong and meant, one's inner voice can't quite be drowned out as it whispers, hopefully...."please....don't go *big* again this time...." This album, and I've only heard it once, so I'll comment more effusively in a leter post about its many merits, demonstrates that they are as effective when they don't "go big". The closer, 'My Body is a Cage' is hypnotic and epic in a less rushy way than their stock in trade euphoric vastness and reminds one of Tom Waits with it's loping tom toms and down-at-heel theatricality. They are good and will do more good things. But will they endure long enough to stage an Achtung Baby-style reimagining of themsleves. Could they chip away at their vast facade of sound to expose something as majestically bare and bleak as, say, Nebraska? (which is, btw overlooked and a seminal album for anyone who has an interest in the American folk tradition or the new Americana...)

It's less, I suppose, about Arcade Fire and more about what the business of music production will allow. What we, as listeners demand. In these times of empty rhetoric and duplicity, it's reassuring to hear an honest voice, poised perfectly between David Byrne and Ian MacCulloch talk singing to you, telling you it doesn't want to live in America anymore. But what happens when the message begins to be engulfed by the scale? That's when we'll find out, perhaps, if they are truly great...



L.U.V. on y'all,

Bob

Bobcasts now available at iTunes!!

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Visit me in MunterSpace - 10,000 Goth Girls Splattered in Feck Blood Can't be Wrong!!!!!!!!

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Listen to Bobcasts #1-34 here!



© 2007 Swipe Enterprises

Sunday, 27 May 2007

Stealth Banana, Smart Fruit...




...Bob proudly presents...

(with a little help from his friends...:)

Bill Hicks
Sly & the Family Stone
The Fall
T.S. Eliot
Alfredo Marcucci & Piacevole
Merle Haggard
C.S.S.
Abdel Aziz El Mubarak,
Orishas
Susana Baca
Vivian Stanshall
David Bowie and many, many more...

Download or listen to it here...

"A splendid time is guaranteed for all!!"



L.U.V. on y'all,

Bob

Bobcasts now available at iTunes!!

Bobcasts now available at Jellycast!!

Visit me in MunterSpace - 10,000 Goth Girls Splattered in Feck Blood Can't be Wrong!!!!!!!!

Watch Bob's promos on Youtube

Listen to Bob's songs at indie911.com!

Listen to Bob's songs at GarageBand.com!

Listen to Bobcasts #1-34 here!



© 2007 Swipe Enterprises

Thursday, 24 May 2007

Bobcast #37...




.....is now up. Listen/download here.........

A very big thank you to Subversive Boy for his enormous contribution to "the surprise song at the end"....

Notes below:

I just thought as there will be a lot of stuff from all over the world and people might want to follow up stuff they like, that I'd put up some notes here - I know I'll forget all the important details when I come to do the talking bit! I don't know the running order yet, but I'm hoping to play the following, plus a few others...

There'll definitely be something by Cesaria Evora, from the island of Sao Vincente in the Cape Verde archipelago off the coast of Senegal. The album I have is called Cafe Atlantico and I was initially a bit disappointed when I played a few tracks for S. and Stray Photon last night in between the footy and The Apprentice. It's a grower though, and Cesaria teases out every last drop of fragile sadness from the beautiful tunes. The piano playing is also lovely - reminiscent of some of the flourishes with which Mike Garson graced the Aladdin Sane LP. Surprisingly perhaps for music that comes from a former Portuguese colony in sight of the African mainland, the feel is very South American.

Fatala hail from Guinea, although leader Yacouba 'Bruno' Camara travelled widely across the continent before pitching up in Paris, that hotbed of musical cross-fertilisation and musics from around the world. The group combine dance with the traditional tribal music of pre-independence Guinea. The more percussion oriented tracks are stunning, but they use guitars too and if I play the track I think I will, they can be evocative and delicate as well as drum-frenzied and powerful. Vocalist (the beautifully named) Mabinty Sakhu was, according to the sleeve notes, a mere child when the featured album Gongoma Times was recorded. She doesn't sound it.

Led by and named after Cuban percussionist Elio Reve, Orquesta Reve represent the more pleasant contribution to the world of Guantanamo Bay. The region around that now notorious place gave the world Changui, a highly percussive version of Cuban son adapted from that used in traditional religious ceremonies. If this music is anything to go by, those ceremonies would have been about as far as you can imagine from being 'church'. Like the Fatala album, their CD La Explosion del Momento! is available on Peter Gabriel's Real World label.

I'm listening to Orchestre National de Barbés as I type this. Their music is a wonderful blend of African, Arabic, dance and rock influences. Again, blame it on Paris. I remember hearing a piece on the radio that blew me away when I was there in the mid 80s, scanning the radio dial and taping snippets of stuff that sounded interesting. It was a massive sound - funky, ominous, strange and I clung on to the disjointed and static-heavy tape for ages just for that one song before it disappeared or was wiped. This group and some of the other North African music I've heard on the Rough Guide CD are the closest I've come to redicovering that elusive moment of clarity, otherness and power. I will probably play a couple from the RGTTMONA - it really is stunning stuff and is the best of that series I've heard. The range of styles and flavours it hints at - running from street-funky Rai grooves, brassy Nubian folk to the haunting yet familiar desert music that seems to contain the seeds of cajun and country blues.

I'll also be playing something from the Camille LP I mentioned in yesterday's post, possibly a Joanna Newsome (athough I fear that the lengthiness of even the shortest of her tracks may preclude that!) and, if Stray Photon can remember to mail the MP3s to me, a couple of songs by a pair of good old English legends...



L.U.V. on y'all,

Bob

Bobcasts now available at iTunes!!

Bobcasts now available at Jellycast!!

Visit me in MunterSpace - 10,000 Goth Girls Splattered in Feck Blood Can't be Wrong!!!!!!!!

Watch Bob's promos on Youtube

Listen to Bob's songs at indie911.com!

Listen to Bob's songs at GarageBand.com!

Listen to Bobcasts #1-34 here!



© 2007 Swipe Enterprises