Showing posts with label The Motels. Show all posts
Showing posts with label The Motels. Show all posts

Tuesday, June 17, 2014

HOTELS AND MOTELS : THE MOTELS






Bit of a change here, rather than invoking the C word and it's inability to be left, or Zappas entire chain of boarding houses, I thought I'd explore those largely uncelebrated doyens of Noo Yawk noo wave, Martha Davis' exemplary Motels. And what's the first thing I learn? Dang me, but they were from L.A.........
As a boy I was always interested in the arcane and the roads less well travelled, and I think I first came across this band on The Old Grey Whistle Test, the "other" music show from british bygone days, the late late night prog and earnest mumblefest, officiated by, at it's peak, the wonderful Whispering Bob, Bob Harris, who remains the champion of american musics in the UK. I don't believe they were ever that well known over this side, but I loved the spiky and jagged angulations of the guitar, keyboard and squawked vocal interface. This was the song and even hearing it now brings me to a glow of  nostalgic glee. Even the awful grunts and groans of her no doubt burly bandmates. (Edit: Actually, somewhat less than burly, see above!!)

Originally formed in Berkely as far back as 1971, they had rather more chart success at home and in Oz than in the UK, the above mentioned song being, I'm surprised to read, their only UK chartbotherer. I'm surprised it even reached 41, which it did, apparently, not through undeserved worth, but because I thought I was the only person who actually bought the single. It seems that vocalist/guitarist Martha Davis has been the only constant, with a massive cohort of transients over the subsequent decades. Indeed, albeit now officially Martha Davis and, the current unit are either currently touring, recording or both.

As a contrast I was hoping to find something from an LP of childrens music she, Ms Davis, put out at one stage. Unfortunately no-one has seen fit to youtube anything, but here is a spotify link that may or may not divert you, in more ways than one.

A final thought, as I try to shoehorn a further Hotel/Motel reference into this piece, I wonder whether the CEO of Days Inns ever contacted the band, in search of a slogan. Days are OK would surely fit the bill, I feel, for their, um, range? Of course, I expect a fee for this idea, should such a person be reading. I feel sure they are.

Saturday, October 10, 2009

Domestic Violence and Sexual Abuse: Break the Cycle Edition



To wrap up my thoughts on this week's theme, I wanted to span the various ways women (and song) have dealt with domestic violence: confusing abuse with love... getting revenge on the abuser... walking away from the situation to make a better life - as Maya Angelou says, "when we know better, we do better"... and there is much emphasis these days, with the current generation, to Break the Cycle and do things differently...

FIVE THINGS TO SAY TO SOMEONE IN A VIOLENT RELATIONSHIP:
1) It will only get worse.
2) I'm afraid for your safety.
3) I'm afraid for the safety of your loved ones.
4) You don't deserve to be treated this way.
5) There's help when you're ready. Call the National Domestic Violence Hotline: 1-800-799-7233

The Motels: He Hit Me (It Felt Like a Kiss)

[purchase]

Since I do not own, and was unable to find, the original version of this song by The Crystals, I am sharing The Motels' cover - from Wikipedia:

"He Hit Me (It Felt Like A Kiss)" is a pop song written by Gerry Goffin and Carole King and recorded by The Crystals under the guidance of Phil Spector in 1962.

Goffin and King wrote the song after discovering that singer Little Eva was being regularly beaten by her boyfriend. When they inquired why she tolerated such treatment, Eva replied, with complete sincerity, that her boyfriend's actions were motivated by his love for her. The song was written and intended as a sort of protest song from the point of view of an abused woman. Phil Spector's arrangement was ominous and ambiguous.


“It was a brutal song, as any attempt to justify such violence must be, and Spector’s arrangement only amplified its savagery, framing Barbara Alston’s lone vocal amid a sea of caustic strings and funereal drums, while the backing vocals almost trilled their own belief that the boy had done nothing wrong. In more ironic hands (and a more understanding age), 'He Hit Me' might have passed at least as satire. But Spector showed no sign of appreciating that, nor did he feel any need to. No less than the song’s writers, he was not preaching, he was merely documenting.” — Dave Thompson (AllMusicGuide)

Upon its initial release, "He Hit Me" received some airplay, but then there was a widespread protest of the song, with many concluding that the song was an endorsement of spousal abuse. The song soon became played only rarely on the radio, as now. More here...

Eliza Gilkyson: The Ballad of Yvonne Johnson

[purchase]

From the Austin Chronicle:

In her autobiography, Stolen Life, Canadian Cree Yvonne Johnson spares little in the telling of her life of abuse, incest, rape, physical deformity, poverty, and crime. Yet Johnson, who won't be eligible for parole until 2014, doesn't point fingers, make excuses, or otherwise deny guilt for the murder that got her a life sentence. Instead, she has used the experience to not just rehabilitate herself, but to redeem her battered, brutalized spirit. When Eliza Gilkyson ran across Stolen Life in a Canadian airport, she was stunned.

"I just inhaled it. I knew then I wanted to write her story in song, but I didn't know how to do it right. So much detail; how was I going to get all these elements in, this history of abuse, the murder, how she found herself? How to convey that and the emotion? It was so daunting."

The rest of the article here...

Kristina Olsen: Keeping This Life of Mine (Song for Battered Women)

[purchase]

This song won the New Folk songwriting contest at the prestigious Kerrville (Texas) Folk Festival in 1985 - in Kristina's words:

"I wrote it about a friend of mine who was in an abusive relationship. She ended up in the hospital and at that time realized she had to get away from this very abusive man, but she had no self-esteem left. She finally said, "I'm keeping this life of mine" and walked away. I was so impressed with the courage it took her to do that that I wrote this song from her point of view. The nice tag to her story is that she's doing great now."