Album details
| Label: | Ref#: | ?-0041 | |
| Date: | 1975 | Category: | rock |
| Rating: | 70 | ||
| Genre: | Comedy; Folk-rock |
Notes/Reviews
From England's famous Oxford College to the hay-strewn streets of Nashville the pointed boots of Griff Gostuffyerself have trodden the winding path to success. But for Griff the beginnings were hard. For ten years in Nashville none of the famous songwriters and guitar-pickers would so much as talk to him, on account of his fancy Oxford ways, such as eating with a knife and fork. In a dollar-a-week cold-water apartment above a Kentucky Fried Chicken parlor he wrote four million songs. It was the last of these, "I and Bobby McNye", which caught the attention of Lonny Nash (after whom Nashville was named) and was subsequently covered by every Country musician West of Karachi. The duo of Lonny Nash and Griff Gostuffyerself became inseparable. So did the duo of Griff Gostuffyerself and Rita Coldcut, beautiful half-Indian, half-inaudible singer of sweet songs. As Lonny and Rita grappled monosyllabically with the challenge of sharing the first place in the new star's life, Griff produced an unbroken stream of hits: "You and Billy McGrew", "We and Barry McFee", "They and Jay McVay". His album "Shakespeare Was A Shitkicker" went gold, then blue, then soft. Meanwhile Griff had become a movie star of the first magnitude, playing Billy the Kid in The Man Who Shot Sam Peckinpah, with Bob Dylan as Maid Marian. "People have said that all my songs are the same," Griff contends, "and they're right."
или Doom for Room (feat. leonard conmam), издевающаяся над Леонардом Коэном
A solitary lighted window high above a dark city in Canada frames a hanging head. On a dusty stage in England's London flows a stream of bitter tears. From cheap radio- grams in women's dormitories on campuses throughout the world croaks a desolate voice. This is the phenomenon of LEONARD CONMAN, Poet, novelist and above all musician. For in the songs of Leonard Conman we hear an idiom pared to its essentials. The music drained of all melody, the lyric of all coherence, there is nothing left except abstract intensity - a Comnan song is a Polo Mint from which the candy has been sucked off. It is the logical extension of a decaying doughnut. But minimal though it may be, it allows the listener no easy respite. Always Conman's voice clutches, probes, demands to be tolerated. So much love and so much heartbreak - is it any wonder that young girl college students repelled by the formalistic ?litism of Donne, Marvell, Shelley and Yeats should see in Conman the true subject of their adoration? "There's a dump-truck in the mirror," Coriman has written, "and it's stopping at your nose." Far in the distance weeps a sad guitar, trying without hope for that third chord.
Песни сами по себе, кстати, хорошие, но, к сожалению, это был последний "старый" альбом Пола Аткина.
Songs/Tracks
| 1. | Song For Rita (featuring Griff Gostuffyerself) 3:51 |
| 2. | Black Funk Rex (featuring Marc Boloc) 3:18 |
| 3. | Errant Knight (by arrangement with Strongbow Spam) 5:10 |
| 4. | Ready For The Road (featuring Tesco Tex) 2:22 |
| 5. | Ballad Of An Upstairs Window 2:32 |
| 6. | Stranger In Town (featuring Ricky Fablon) 3:32 |
| 7. | Rattlesnake Rock (featuring Gladys Graveyard) 2:11 |
| 8. | Doom From A Room (featuring Leonard Conman) 1:33 |
| 9. | I've Got Better Things To Do (edited version) 2:22 |
| 10. | Lonesome Levis Lane 4:12 |
| 11. | Sheer Quivering Genius (featuring James Paler) 2:42 |
| 12. | Uncle Sea-Bird (in memorium Ralph J. Gleason) 3:58 |
Links/Resources
