Jilly’s on Smack ~ Primus

Primus is an American rock band composed of singer and bassist Les Claypool, guitarist Larry “Ler” LaLonde, and drummer Jay Lane. They are characterized by their irreverent approach to music. Primus has released some of their records on Claypool’s Prawn Song Records label, the title of which is a parody of Led Zeppelin’s Swan Song label.

Primus began as Primate in El Sobrante, California during the mid-1980s with singer and bassist Les Claypool and guitarist Todd Huth. Claypool rounded out the band with a drum machine which they named Perm Parker.The band would go through many drummers throughout their early history, eventually settling on Jay Lane. When another band called “Primate” threatened legal action, the group decided to change their name. They settled on the name “Primus.” The word is Latin, meaning “chief” or “first”.

After rising to local music scene stardom with their brand of funk metal fusion, Huth and Lane left in 1989 to pursue other endeavors. Claypool then recruited former Blind Illusion bandmate and one time Joe Satriani student Larry “Ler” LaLonde, and electric drummer Tim “Herb” Alexander. Claypool and LaLonde recorded and toured with the early thrash band Blind Illusion. Larry LaLonde was previously a member of the seminal Death/Thrash Metal band Possessed. Primus received praise from Testament’s Alex Skolnick very early into their career. Tim Alexander is originally from Jerome, Arizona and was the drummer in Major Lingo.

Primus continued to gain popularity and in 1989 released their first album, Suck on This, a live recording culled from two of their Berkeley concerts. The album was financed by Claypool’s father.

In 1990 the band released their first studio album, Frizzle Fry, and released singles for “John the Fisherman” and “Too Many Puppies”. With a music video featuring Kirk Hammett, a studio album and a tour with Jane’s Addiction, Primus’ popularity grew to the point where they attracted attention from Interscope Records, who signed them in 1990.

Primus’ major label debut was the album Sailing the Seas of Cheese. The album was supported by the singles “Jerry Was a Race Car Driver” and “Tommy the Cat”, both of which appeared on MTV. A third single, “Those Damned Blue-Collar Tweekers”, was also released but did not feature a video. The band appeared as contestants for the Battle of the Bands in Bill and Ted’s Bogus Journey and made music for a Beavis & Butthead tribute album with a song entitled Poetry and Prose. With a major label behind them, Sailing the Seas of Cheese went gold. The band then toured in support of Rush, U2, Anthrax, and Public Enemy.

After the release of Sailing the Seas of Cheese, in 1992 Primus released a cover song EP Miscellaneous Debris, with their version of XTC’s “Making Plans for Nigel” receiving enough airplay to reach #30 on Billboard’s Modern Rock Tracks chart.

In 1993, Primus released Pork Soda, which managed to debut at #7 on the Billboard Top 10. The album was darker than previous Primus efforts, dealing with murder, suicide, and alienation. The band has commented that prior to recording, they had been touring for nearly two solid years and were thus in a sombre mood. “My Name Is Mud”, “DMV”, and “Mr. Krinkle” were singles, the latter made into a video featuring Claypool in a pig suit and tuxedo playing upright bass in an abandoned warehouse as a carnival of oddities parades behind him, including Claypool’s wife and her twin sister. Claypool said he put his “heart and soul into” the video, but it received next to no airtime on MTV. In an interview with Guitar World magazine, Claypool disparaged the channel’s unwillingness to air the video, saying “it got played like six times.”

Pork Soda was the first full length album recorded at Claypool’s house. The band would subsequently record all of their albums in his home studio.

Jilly’s on Smack

San Francisco rockers Primus remember the missing in the new video for “Jilly’s on Smack,” a song from this year’s Green Naugahyde inspired by a friend of the band’s who “disappeared into the world of heroin,” singer Les Claypool says. Directed by Jordan Copeland (son of Police drummer Stewart Copeland), the clip sports a fittingly eerie vibe as it siwtches between shots of the band playing live and grainy found footage of family life, with a holiday theme. “Oftentimes it is the parents grandparents, siblings, etc., that feel the brunt of the heartache as they look at that empty dinner chair or Christmas stocking,” Claypool says.

Jilly’s on smack, and she won’t be comin’ back
No she won’t be comin’ back, for the holidays
Jilly’s on smack, and she won’t be comin’ back
No she won’t be comin’ back, for the holidays

Jilly left home
Went to pick her own bone
She made her own
In the marketplace

Now Jilly’s on smack, and she won’t be comin’ back
No she won’t be comin’ back
For these holidays

Now Jilly’s on smack, and she won’t be comin’ back
No she won’t be comin’ back
For the holidays
Jilly had a smile
That spanned over a mile
She left him standing in the aisles
Of the big parade

Jilly always phoned her mother
Emailed daily to her brother
Til she took a junkie lover
And began to fade

Now Jilly’s on smack, and she won’t be comin’ back
No she won’t be comin’ back
For the holidays

Jilly’s on smack and she won’t be comin’ back
No she won’t be comin’ back
For the holidays

Jilly’s on smack and she won’t be comin’ back
No she won’t be comin’ back
For them holidays

  • Audio from the 2011 album, Green Naugahyde:
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Forty Six & 2 – Tool

Tool is an American rock band from Los Angeles, California, formed in 1990. Since their inception, the band’s line-up has included drummer Danny Carey, guitarist Adam Jones, and vocalist Maynard James Keenan. Since 1995, Justin Chancellor has been the band’s bassist, replacing their original bassist Paul D’Amour. Tool is known to have rigorous touring schedules in support of their albums, they have performed well on charts worldwide, and have sold an estimated 9.25 million records in the United States alone.

Tool emerged with a heavy metal sound on their first studio album, Undertow, at a time when the genre was dominated by thrash metal; and later became a dominant act in the alternative metal movement with the release of their second effort, Ænima, in 1996. Their efforts to unify musical experimentation, visual arts, and a message of personal evolution continued with their third album, Lateralus, in 2001; and their most recent album, 10,000 Days, released in 2006, gained the band critical acclaim and success around the world.

Due to Tool’s incorporation of visual arts and relatively long and complex releases, the band is generally described as a style-transcending act and part of progressive rock and art rock. The relationship between the band and today’s music industry is ambivalent, at times marked by censorship and the band members’ insistence on privacy.

Forty Six & 2

Forty Six & 2” is a song by American progressive metal band Tool. It is released as the fourth single from their second album Ænima in 1997 and received radio airplay. Justin Chancellor’s bass performance was named the 39th greatest bass performance by Digital Dream Door affiliate Nutsie in 2009.

The title references an idea first conceived by Drunvalo Melchizedek concerning the possibility of reaching a state of evolution at which the body would have two more than the normal 46 total chromosomes and leave a currently disharmonious state. The premise is that humans would deviate from the current state of human DNA which contains 44 autosomes and 2 sex chromosomes. The next step of evolution would likely result in human DNA being reorganized into 46 and 2 chromosomes, according to Melchizedek.

Furthermore, the song references a wish to experience change through the “shadow”; an idea which represents the parts of one’s personality that one hates and fears, which also exists as a recurring theme in the work of Carl Jung.

http://djallyn.org/media/tool_forty_six_and_2.flv

My shadow’s
shedding skin and
I’ve been picking
Scabs again.
I’m down
Digging through
My old muscles
Looking for a clue.

I’ve been crawling on my belly
Clearing out what could’ve been.
I’ve been wallowing in my own confused
And insecure delusions
For a piece to cross me over
Or a word to guide me in.
I wanna feel the changes coming down.
I wanna know what I’ve been hiding in

My shadow.
Change is coming through my shadow.
My shadow’s shedding skin
I’ve been picking
My scabs again.

I’ve been crawling on my belly
Clearing out what could’ve been.
I’ve been wallowing in my own chaotic
And insecure delusions.

I wanna feel the change consume me,
Feel the outside turning in.
I wanna feel the metamorphosis and
Cleansing I’ve endured within

My shadow
Change is coming.
Now is my time.
Listen to my muscle memory.
Contemplate what I’ve been clinging to.
Forty-six and two ahead of me.

I choose to live and to
Grow, take and give and to
Move, learn and love and to
Cry, kill and die and to
Be paranoid and to
Lie, hate and fear and to
Do what it takes to move through.

I choose to live and to
Lie, kill and give and to
Die, learn and love and to
Do what it takes to step through.

See my shadow changing,
Stretching up and over me.
Soften this old armor.
Hoping I can clear the way
By stepping through my shadow,
Coming out the other side.
Step into the shadow.
Forty six and two are just ahead of me.

  • Audio from the 1997 album,  Ænima:

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Dazed and Confused – Led Zeppelin

led-zeppelinLed Zeppelin were an English rock band formed in 1968 by Jimmy Page (guitar), Robert Plant (vocals), John Paul Jones (bass guitar, keyboards) and John Bonham (drums). With their heavy, guitar-driven sound, Led Zeppelin are regarded as one of the first heavy metal bands. However, the band’s individualistic style draws from many sources and transcends any one genre. Their rock-infused interpretation of the blues and folk genres also incorporated rockabilly, reggae, soul, funk, classical, Celtic, Indian, Arabic, pop, Latin and country. The band did not release the popular songs from their albums as singles in the UK, as they preferred to develop the concept of album-oriented rock.

Close to 30 years after disbanding following Bonham’s death in 1980, the band continue to be held in high regard for their artistic achievements, commercial success and broad influence. The band have sold more than 300 million albums worldwide, including 111.5 million sales in the United States and they have had all of their original studio albums reach the U.S. Billboard Top 10, with six reaching the number one spot. Led Zeppelin are ranked No. 1 on VH1′s 100 Greatest Artists of Hard Rock. Rolling Stone magazine has described Led Zeppelin as “the heaviest band of all time” and “the biggest band of the 70s”.

The photo is of the first performance ever by Jimmy Page, Robert Plant, John Paul Jones and John Bonham in a small club outside of Copenhagen, the Gladsaxe Teen Club, had booked The Yardbirds a few months before but the Yardbirds broke up and Peter Grant and Jimmy Page came with other musicians to fulfil those commitments. They signed a contract for a small tour in Scandinavia. Jimmy recruited 3 other guys and they played all the clubs where The Yardbirds were supposed to play. The first of these clubs was the Gladsaxe Teen Club.

Gladsaxe Teen Club was really a gymnasium of a progressive school built in the 1960s and located in the area of Gladsaxe and they held concerts there almost every Saturday between September and March.

They Yardbirds didn’t become Led Zeppelin until after their return from Scandinavia. They took the name Led Zeppelin after Keith Moon, the drummer of The Who suggested that they would “go down like a lead balloon”.

Dazed and Confused

“Dazed and Confused” is a song by Jake Holmes, which was covered by The Yardbirds, and later reworked by Led Zeppelin who hold a separate copyright on the song.

Jake Holmes version:

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During a 1967 tour of the United States by English rock group The Yardbirds, Jake Holmes performed as the opener at the Village Theater in Greenwich Village on August 25, 1967. The Yardbirds were inspired by his performance and decided to work up their own arrangement for a new song. Their version featured long instrumental passages of bowed guitar courtesy of Jimmy Page, and dynamic instrumental flourishes. Page has stated that he obtained the idea of using a violin bow on his guitar from a violinist named David McCallum, Sr., during his session days before joining the Yardbirds in 1966.  At that time, it even had a little eastern influence, as can be heard on some French television appearances. It quickly became a staple of The Yardbirds’ live act during their final year of their existence.

The song was never recorded by the band, although a live version is included on the album Live Yardbirds: Featuring Jimmy Page under the alternate title “I’m Confused”. Another live version of the song, recorded on the French TV series “Bouton Rouge” on 9 March 1968, was included on the CD Cumular Limit in 2000 and was credited “by Jake Holmes arr. Yardbirds.”

The Yardbirds version:

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When the Yardbirds disbanded in 1968, the song “Dazed and Confused” was re-worked by Page yet again, this time while as a member of Led Zeppelin. According to Led Zeppelin bassist John Paul Jones, the first time he heard the song was at the band’s very first rehearsal session at Gerrard Street in London in 1968:  “Jimmy played us the riffs a the first rehearsal and said, This is a number I want us to do.”  Led Zeppelin recorded their version in October 1968 at Olympic Studios, London, and the song was included on their 1969 debut album Led Zeppelin.

The Led Zeppelin version was not credited to Holmes, and a different ASCAP code was assigned to it.  Page took the title, came up with a new set of lyrics, and changed enough of the melody to escape a plagiarism lawsuit from Jake Holmes. While Holmes took no action at the time, he did later contact Page in regards to the matter. Page had not replied as of 2001. In June 2010 Holmes filed a lawsuit in United States District Court, alleging copyright infringement and naming Page as a co-defendant.

Led Zeppelin’s interpretation of the song begins with a slow-tempo bluesy rhythm, propelled by John Paul Jones’ descending bass line. It then changes to a faster tempo during the darkest part of the song, again featuring bowed guitar by Page, followed by a furious guitar solo (similar to Page’s solo from the Yardbirds’ “Think About It”), before finally returning to the initial rhythm. John Bonham’s sporadic, explosive drumming throughout helped define the song’s power and intensity.

This was one of three Led Zeppelin songs on which Page used a bow on his guitar, the others being “How Many More Times” and “In the Light”. The intro of the song “In the Evening” utilised the Gizmotron rubber wheel string exciter to achieve the violin-like effects. Many often mistake this for his use of the bow.

This 1969 Danish TV clip of “Dazed and Confused” reminds us of Led Zeppelin’s virtuosity and power. Can you imaging being one of the kids sitting on the floor during the taping? There’s a purity to these early performancs that would diminish over the years, as the crowds grew larger and the rock star posturing from Plant and Page competed for center stage with the music.

http://djallyn.org/media/led-zeppelin-dazed-and-confused.flv

Been dazed and confused for so long, it’s not true
A-wanted a woman, never bargained for you
Lots of people talkin’, few of them know
soul of a woman was created below, yay

You hurt and abuse, tellin’ all of your lies
Run ’round sweet baby, lord, how they hypnotize
Sweet little baby, I don’t know where you been
Gonna love you baby, here I come again

Every day I work so hard, bringin’ home my hard-earned pay
Try to love you, baby, but you push me away
Don’t know where you’re goin’, only know just where you’ve been
Sweet little baby, I want you again

That’s not my babe
Ah, ah, ah, ah
Did you ever look-up my woman
Ah, ah-ah-ah, ah-ah-ah-ah, ah-ah-ah-ah
Ah-ah-ah-ah-ah-ah-ah-ah-ah-ah, ah
Ahh, ah, ah, ah, ah
Ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ah-ahhh, ahh
Oh, yeah, alright, alright
Ah, ah, ah, ah, ah-ah-ah, ah-ah-ah, ah
Ah-ah, ah-ah, ah-ah, ah-ah

Oh, I don’t like when you’re mystifyin’ me
Oh, don’t leave me so confused, now
Whoa, baby

Been dazed and confused for so long, it’s not true
Wanted a woman, never bargained for you
Take it easy, baby, let them say what they will
Tongue wag so much when I send you to Hell, oh, yeah, alright

Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, ah, ah, ah
Ah-ah-ah, ah-ah-ah, ah-ah-ah, ah-ah-ah

  • Audio from the 2003 album, How the West was Won, recorded from original 1972 concerts in the US:

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