Illustration Of The Pharos Lighthouse By Salvador Dali
I’m floating on an open flame,
the Hercules are far behind…
i finally got the diaphanous vocal effect that i sought, and i didn’t have to hold my nose!
this is the final track template, and the final mix will appear on an orbscure fetish that i will release later this year. if you want one, let me know now.
Diana
my song begins this way:
i’m floating on an open flame,
the hercules are far behind.
Diana
if i only knew three chords,
i would have drowned before i got
to this place in our song.
Diana your coast is a mirage.
The light house keeper turned his tee vee off.
I’m Drinking sand from Zanzibar,
and your mermaid pinata hides your siren song.
I’m Listening.
Diana
when i learn how to sing.
my voice will reach you far away,
from this place that i’m in.
Diana your coast is a mirage.
The light house keeper turned his tee vee off.
I’m Drinking sand from Zanzibar,
and my demon pinata is a man of war.
I’m singing.
JHM plays guitar, hand claps, rain stick, Bells, Voice, jangling keys, and mellotron.
The birds singing track was recorded at the end of the session at the break of dawn in Forest Hills NYC.
The video was shot at Cats Paw recording studio in NYC, and the tracks were recorded at Spectrum Studios in Mineola. Most of this song was recorded on new years eve in the hours that arced between 1985 and 1986.
The song was written by Lou Reed and this version was arranged and produced by Javier Hernandez-Miyares
This is the High Fidelity version:
Fee Fi Fo Fum will always be:
Alberto Hernandez- Miyares – Bass
Donald Johnson – Vocals
Javier Hernandez-Miyares – Guitar
John Easter Mills – Drums
Mary K – Keys and Vox
Very moving it is to be in an audience, where it is the custom to sing with the master.
Silvio Rodriguez Is the Walt Whitman of the Cuban revolution. His songs are deeply rooted in the humanism which was described by Che Guevara in El Socialismo Y El Hombre En Cuba
Our utopia is still very far away, but its music has always been with us.
It is better to be Brechtian than Manichean.
Some words placed together evoke many other words. This is for you that want to know what the lyrics mean:
Zipperhead
gather all the sacred songs
for out of body release
(old and cherished music is played at funerals for the souls of the dead) wrap them all in cotton gauze
in twenty seven degrees
(the songs are aching and fragile and appropriate for the dead of winter)
oh my darling
(what a friend will say to the grieving spouse, when there is nothing left to say)
brave the wind with Capricorn
(imagining the huddled mourners at a January interment)
follow orders for free
what we do when we have nothing left and surrender to religion, the truth etc.)
bow your head and raise your eyes
(literally what you see in the crowd during a funeral prayer, also referring to the defiance we attempt to mount against our own similar fates) see the man on the tree
(look at the crucifix , ie be a witness to suffering; and a reference to the scene in Amarcord which mocks our pathos)
oh my darling
dry the tears hemp mourning cloth
(a Japanese garment for mourning and a reference to using substances to lighten the weight of the moment)
pastry cart on the scene
(the necessity of bringing back the corporal at the end of a funeral, reminding us that we are still among the living. also referring to the attempts to lighten what feels so heavy at the moment, or not so heavy to others)
seven angels coming now
could it all be a dream
(refers to the mourner’s fantasy of the apocalypse and desire for an after life)
oh my darling
Lyrics and annotation by Steven Pacia
Sineparade:
Steven Pacia – Vox
Alex Garcia – Drums
Ariel de la Portilla – Bass
Javier Hernandez-Miyares – Guitar
J. Armen – Guitar
Pic composition By JHM and music composed by him…..
For this performance Occult Science was:
Joseph Nocilla: Drums
Alberto Hernandez-Miyares: Bass
Donald Johnson: Keyboards
Ralph Garcia: Keyboards, Composing credit on the last bit
Tommy Shaw: Vocals
Javier Hernandez-Miyares: Guitar
Lyrics:
Lost child on a curve to the end of the world.
Exiles, let your spirits be freed from the spell.
This enchanted eve,
The world will grieve for the thoughtless kind;
The love undone…
All Night…
All Night.
Too late…
There are flowers, but under them graves.
Be late… for the changes we must undertake.
You may never leave
The things that you believe.
A time will come…
For love and freedom.
All night…
All night.
I wrote this thing at the apex of my mystical period which ended in 1981, This is my first psycho symphonic composition.
This is a data dump of Palimpstar, and some of this material will be used in the video, which goes into production next month.
Everybody wants to jump a little higher.
Split your skull, and put your brain into the fire.
Tumble all around like a baby in a dryer.
Your rose is a rosebud; it’s a radio flyer.
Everybody wants to be the new Svengali;
Entice you with his voice,
Like a moving Turkish belly.
Listen to the voice that’s coming from the mountain
Rushing over waterfalls, and sprouting out a fountain…
When you lay, you lie.
When you move,
the movement…
Is you.
Everybody wants to jump a little higher…
Rushing down a water fall
and sprouting out a fountain…
I was 19 years old when i wrote this piece for the Occult Science Band. This is a live performance somewhere on Long Island in 1980.
The band:
Joe Nocilla – Drums
Alberto Hernandez-Miyares – Bass
Donald Johnson – Synth
Ralph Garcia – Piano
Javier Hernandez – Miyares – Synth Strings
Ralph Lecessi – Sax
Tommy Shaw – Vox and Synth (not present on this track)
This is a performance at “My Fathers Place” of a song written by Donald Johnson and arranged by me a year later:
A medley of tunes that i wrote from the same performance:
This is all recorded in craptikculicious analog cheapness.
