MAXABELSON'S SUPERGROOVY MUSIC VIDEO SPECTACULAR

awfully fine videos from the 60s, 70s, 80s, 90s & 00s


and the website for my journalism is right this way...


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ft. the beatles, aretha franklin, neil young, dr. dre, serge gainsbourg, duke ellington, the kinks, jimi hendrix, pavement, the clash, smog, the smiths, al green, the rolling stones, cat power, dusty springfield, yo la tengo, antony, wilco, elvis, talking heads, elliott smith, r.e.m., ray charles, otis redding, the monochrome set, randy newman, the cure, gillian welch, queen, stevie wonder & more


"mtv makes me want to smoke crack." -beck


see the archives & a random post


"i just happen to be here, and it's okay." -caetano veloso


"sing a simple song but keep the swing strong." -de la soul


"think straight, keep a clean plate." -joanna newsom


"keep a clean nose, watch the plain-clothes." -bob dylan


"keep your feet warm, but keep your clothes on." -harry nilsson


"it took me about three or four weeks to toilet train my cat, nightlife. most of the time is spent moving the box very gradually to the bathroom." -charles mingus


"think about something else. was art tatum talented?" - shoot the piano player


"she had a chihuahua named carlos that had some kind of skin disease and was totally blind." -tom waits


"he had a huge room with nothing in it except this huge vast hammond organ, right next door to the police." -david bowie


"he's got a mind like a sewer, and a heart like a fridge" -elvis costello


"you can't hold the hand of a rock 'n' roll man." -joni mitchell


"lou's jukebox spun for love and many other things, too – beauty, pain, history, courage, mystery" - laurie anderson


"hey there, hey now, well, you can make a pacemaker blink, easy thing, make a man's heart go bibbity bom. -john cale


"i’ve still got things inside me, sad things, happy things, that people don’t know about." -loretta lynn


"to try to maximize the relationship of listening to a record through promotion is like experiencing driving a car by reading about stimulus programs." -bonnie 'prince' billy


"after cheesecake with all of your friends and family, who's gonna front the bill? me... say you want to take first-class trips, well i want to work those first-class hips. yes i do." -r. kelly


"too much cheesecake too soon! old money's better than new" -roxy music


"my mother used to tell me about vibrations. to think that invisible feelings, invisible vibrations existed scared me to death." -brian wilson


"i'm a lunatic, and you are so super cool." - george jones


"i'm an idiot for you." -iggy pop


"i mean every letter in the words in the sentences of my quotes." -lil' wayne


"lyrics choochoo from my mouth like locomotion." - pato banton


"i'm going to boogie my scruples away." -lowell george


"i drive a rolls-royce, cause it's good for my voice." -t.rex


"i'm dealing in rock and roll. i'm not a bonafide human being." -phil spector


"phil approached me with a bottle of kosher red wine in one hand and a .45 in the other, put his arm around my shoulder and shoved the revolver into my neck and said, 'leonard, i love you.' i said, 'i hope you do, phil.'" -leonard cohen


"they’d whisper at each other and look at phil and whisper at each other. finally this lady, tanked, comes over to phil and says, 'alright, sonny, what’s your problem?' and he said, 'premature ejaculation, what’s yours?'" -tom wolfe


"i bite my nails and if that fails i go get myself stoned, but when i do i think of you and head myself back home." -gram parsons


"i would say groucho marx, to name one thing, and willie mays, and the second movement of the jupiter symphony, and louis armstrong’s recording of potatohead blues, swedish movies, naturally. sentimental education by flaubert, marlon brando, frank sinatra, those incredible apples and pears by cézanne, the crabs at sam wo’s, tracy’s face." -woody allen


"where have you been all my life?" -emmylou harris, to my brother tommy


brian eno songs that will make good book titles for my 10-volume memoir, in order: here he comes, baby's on fire, golden hours, brutal ardour, taking tiger mountain, events in dense fog, through hollow lands, some of them are old, everything merges with the night, dead finks don’t talk


ry cooder albums that every man should own: into the purple valley, boomer's story, paradise and lunch


"really, we don't want people twiddling their goatees over our stuff." -radiohead


thelonious monk's middle name: sphere


#1 song on the white album (tie): long long long, happiness is a warm gun


"the only word is love." -john lennon


"i love songs about horses, railroads, land, judgment day, family, hard times, whiskey, courtship, marriage, adultery, separation, murder, war, prison, rambling, damnation, home, salvation, death, pride, humor, piety, rebellion, patriotism, larceny, determination, tragedy, rowdiness, heartbreak and love. and mother. and god." -johnny cash


"i could even find it in my heart to love mike love." -belle & sebastian


"the moon is clear, the sky is bright, i'm happy as the horse's shite." -the pogues


"i hope that you all out there, young, old, tall, short, fat or thin, quick or slow, no matter what kind or color or shape or person you are, if you like to make music, why, go ahead.” -pete seeger


"chuck berry isn't merely the greatest of the rock and rollers, or rather, there's nothing mere about it. say rather that unless we can somehow recycle the concept of the great artist so that it supports chuck berry as well as it does marcel proust, we might as well trash it." -robert christgau


mashable says about us: "expect the unexpected with this awesome gem. groovy." and 33 1/3: "nice to have someone steer me in a worthwhile direction"


download albums, see album covers, photos, posters, quotes & 'staches


the olden days: 2008 j. f. m. a. m. j. j. a. s. o. n. d. 2009 j. f. m. a. m. j. j. a. s. o. n. d. 2010 j. f. m. a. m. j. j. a. s. o. n. d. 2011 j. f. m. a. m. j. j. a. s. o. n. d. 2012 j. f. m. a. m. j. j. a. s. o. n. d. 2013 j. f. m. a. m. j. j. a. s. o. n. d. 2014 j. f.


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"charles got into serious trouble one night when he kept a taxi for six or seven hours and ran up a $10 bill which he couldn’t pay. the taxi driver tried to snatch his horn, and charles stabbed him with a dagger. they took him off to the farm. i told the police, ‘how dare you treat my son like that. bring him back!’ he came home the next day" - charlie parker’s mom, addie.
be nice to your mother, pay your cab fares, don’t stab anyone, and listen to tons and tons and tons and tons and tons of charlie parker.

"charles got into serious trouble one night when he kept a taxi for six or seven hours and ran up a $10 bill which he couldn’t pay. the taxi driver tried to snatch his horn, and charles stabbed him with a dagger. they took him off to the farm. i told the police, ‘how dare you treat my son like that. bring him back!’ he came home the next day" - charlie parker’s mom, addie.

be nice to your mother, pay your cab fares, don’t stab anyone, and listen to tons and tons and tons and tons and tons of charlie parker.

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#1035: mother maybelle carter - gold watch and chain (c. 1961)

"sometimes when john was in bad shape, june would have him stay at her house on due west avenue in nashville and try to take care of him. john was after june to marry him, but she wouldn’t let him move in with her. so whenever june took john in, mother maybelle would move in and care for him like he was her own son. on some occasions she’d nurse him back to pretty good health, but he often didn’t stay that way for any length of time.” - marshall grant, i was there when it happened

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"i’m a lunatic, and you are so super cool." - george jones 
*from the song never having you, on 1973 parenthetical gem nothing ever hurt me (half as bad as losing you)

"i’m a lunatic, and you are so super cool." - george jones 

*from the song never having you, on 1973 parenthetical gem nothing ever hurt me (half as bad as losing you)

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"gliding toward high tenor, plunging toward deep bass, the magisterial portamento of his onward-coursing baritone emits white-hot sparks and torrents of blue, investing his poison love songs with a tragic gravity and inflaming his celebrations of the honky-tonk ethos with the hellfire of abandon. as emmylou harris has said, ‘when you hear george jones sing, you are hearing a man who takes a song and makes it a work of art—always. he has a remarkable voice that flows out of him effortlessly, and quietly, but with an edge that comes from the stormy part of the heart.’" - nick tosches on george jones. 

"gliding toward high tenor, plunging toward deep bass, the magisterial portamento of his onward-coursing baritone emits white-hot sparks and torrents of blue, investing his poison love songs with a tragic gravity and inflaming his celebrations of the honky-tonk ethos with the hellfire of abandon. as emmylou harris has said, ‘when you hear george jones sing, you are hearing a man who takes a song and makes it a work of art—always. he has a remarkable voice that flows out of him effortlessly, and quietly, but with an edge that comes from the stormy part of the heart.’" - nick tosches on george jones

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#1030: randy newman - a wedding in cherokee county (berlin’s bar jeder vernunft, 1994)

"i’ve been an admirer of albania, which has been in the news lately, more so in albania than here, or in the us. i used to get their paper, which was called the red menace, or the red death. what i admired about them was their independent foreign policy: it had no ally in the world. north korea was way too far to the right for them they were imperialist dogs, and the russians were leaches on the capitalist hindend, the chinese were far too moderate for them. i wanted to write them an anthem, and i started: “a white moon shines on the goat herd.” and i didn’t have enough information, i couldn’t go on. so instead i wrote them a wedding song. i later moved it to alabama when i needed it for a concept album. but it’s entire albanian in derivation and it’s in very bad taste at the same time: there she is sitting there, out behind the smokehouse in her rocking chair, she don’t say nothing she don’t do nothing she don’t feel nothing she don’t know nothing, maybe she’s crazy i don’t know maybe that’s why i love her so…” 

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"as news of lou’s death spread, a rippling sensation mounted, then burst, filling the atmosphere with hyperkinetic energy. scores of messages found their way to me. a call from sam shepard, driving a truck through kentucky. a modest japanese photographer sending a text from tokyo—i am crying.” 
- patti smith’s heart is fuller than ours, and so is her phone

"as news of lou’s death spread, a rippling sensation mounted, then burst, filling the atmosphere with hyperkinetic energy. scores of messages found their way to me. a call from sam shepard, driving a truck through kentucky. a modest japanese photographer sending a text from tokyo—i am crying.” 

- patti smith’s heart is fuller than ours, and so is her phone

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#1022: lou reed - coney island baby (live, 1984)

"you start thinking again about all those things that you’ve done, and who it was, and what it was, and all the different things you made, but remember that the city is a funny place, something like a circus, or a sewer, and just remember different people have peculiar tastes, and the glory of love, the glory of love, might see you through."

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#1017: bill callahan (smog): feather by feather, cold blooded old times, river guard and interview (2002, chicago wgn news)

"the cd is getting some great reviews: the chicago reader calls it intimidating and irresistible. do you agree with that! do you find yourself intimidating and irresistible?”

"just intimidating."

"yeah, i’m pretty intimidated right now bill, i’ve got to tell you."

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#1012: lefty frizzell - i love you in 1,000 ways (1967, road to nashville)

even lefty frizzell’s entry in the encyclopedia of country music sounds like a lefty frizzell song: “as time went by, frizzell suffered from an increasing drinking problem and a penchant for womanizing. such distractions certainly didn’t help his creative progress, but artists who were influenced by lefty’s work, and there were more than a few who became major, suggested that with a little luck lefty could have been a superstar.” one of them was merle haggard, who said: “hearing lefty’s voice was a turning point in my life. he delivered every line in a song like henry fonda. every break was authentic.” that’s true. if henry fonda was steinbeck, and merle haggard was a bottle of whiskey, lefty frizzell was the sky.

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#1008: nara leão - insensatez (c. 1969)

"we sang because we liked it. and we sang in universities, sang for students and at parties. everyone was quite elegant, and we played the guitar, and whoever was willing to hear, then we showed it. it was bossa nova already, before it was recorded, it was something a bit intimidate, belonging to a group. for instance, we used to sing: oh so unwise, what you did, you careless heart, you made your love weep painfully

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#1006: rahsaan roland kirk - the inflated tear (prague, 1967)

"i like charlie mingus and this other cat who plays all the horns, roland kirk… i’d like him to play with us. if people read this they’ll say, ‘that guy must be joking’ but i really think we’re doing the same things. we have different moods and i think some of the moods are on the same level.” - jimi hendrix

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"i said ‘do we have a problem here? we better solve it. what’s the problem?’ he said, ‘it’s my name, man. i changed my name and i want it on the marquee. the name is rahsaan roland kirk.’ i put up r-a-h-s-a-a-n, little space, r-o-l-a-n-d k-i-r-k. the problem was that i only had eighteen spaces in each line and three lines. jefferson airplane was one line. afro-haitian ballet was the next line. i abbreviated "ballet" to b-l-t. rahsaan roland kirk was seventeen letters and then there were the two spaces in between. i said, ‘you can have r. roland kirk. rahsaan r. kirk. r.r. kirk. how do you want it?" he kept saying, rahsaan roland kirk. that’s what i want on the marquee. see, that’s just my name. that ain’t the name of my band.’ i said, ‘what’s the name of your band?’ he said, ‘rahsaan roland kirk and his all-star vibrations society.’ ‘roland,’ i said. now every time i would say ‘roland,’ he would interrupt me and say, ’ rahsaan, baby. rahsaan.’" - bill graham

"i said ‘do we have a problem here? we better solve it. what’s the problem?’ he said, ‘it’s my name, man. i changed my name and i want it on the marquee. the name is rahsaan roland kirk.’ i put up r-a-h-s-a-a-n, little space, r-o-l-a-n-d k-i-r-k. the problem was that i only had eighteen spaces in each line and three lines. jefferson airplane was one line. afro-haitian ballet was the next line. i abbreviated "ballet" to b-l-t. rahsaan roland kirk was seventeen letters and then there were the two spaces in between. i said, ‘you can have r. roland kirk. rahsaan r. kirk. r.r. kirk. how do you want it?" he kept saying, rahsaan roland kirk. that’s what i want on the marquee. see, that’s just my name. that ain’t the name of my band.’ i said, ‘what’s the name of your band?’ he said, ‘rahsaan roland kirk and his all-star vibrations society.’ ‘roland,’ i said. now every time i would say ‘roland,’ he would interrupt me and say, ’ rahsaan, baby. rahsaan.’" - bill graham

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#999: woody allen - algiers strut (1997, wild man blues)

"to be even as bad as I am, you do have to practice every day.”

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#988 : jonathan richman - now is better than before (1985)

from jonathan richman’s first 20 years in show business by jonathan richman: “mr. richman was born in boston in 1951. he started to draw pictures all day long from the age of 5. played baseball all day long from the age of 9. this would not leave time for anything else, would it? he took up guitar at 15, started playing in public at 16, and by 17 had caused many people to leave coffee-houses… quickly… with their hands over their ears, and by 18 was sure he wanted to sing professionally… he left home at age 18, moving to new york. since he was ten years old and first was taken there by his parents, he wanted to live there and also his favorite rock band the velvet underground was there along with the artist andy warhol (since deceased)… he admired their sincerity, their dark sound, and their ability to improvise both lyrics and music onstage. his first place to stay in manhattan was on the couch of the personal manager of this velvet underground. after two weeks the manager and his wife and the other person staying there felt that jonathan… well… he immediately found work as a busboy (unbelievably incompetent) and as a foot messenger on wall street." (emphasis mine)

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#953: ali farka toure with ry cooder - goye kur (new orleans, 1994)

nine things that ry cooder, california’s finest guitar player, said about mali’s holy ali farka toure during the interview for talking timbuktu's liner notes:

(1) he has a way of looking down into your throat in a funny way, even when he’s drunk, and knowing a few things.

(2) he’ll just come in and reset the molecules in the room… on the level of a faith healer. on the level of a shaman.

(3) the guy is a big, strong, important man… it’s an expression of his tremendous self-confidence, which is miles wide… you have to get to kind of a soft place with a guy like that, with him.

(4) all through the years, thousands, eons worth of years, what they must have known or had going was a sense that the music is all there, and all you have to do is just become a conduit for it.

(5) that stuff is kaleidoscopic, it all works together, but it’s very cozy… to me, it’s like lightnin’ hopkins backwards.

(6) i’d like to take bootsy collins and some other people and go to africa and see what the fuck’s going on.

(7) he rolls around like a sailor, he rolls, it’s real good… i’m sure they stay up all night over there.

(8) so he says, “wait a minute.” he’s stopped. he’s always speaking french. “where’s the ocean?” i said, “it’s about two blocks.” boy, he put the fiddle down and wouldn’t touch it. i said, “what’s the matter?” he said, “there’s a lot of spirit world in the ocean, and if they hear this and misunderstand, the ocean will come up and drown us right quick.” so i’m not going to argue with that. he’s not making a big thing of it, like “i have seen the vision” and being dramatic. he’s just saying, “no way am i going to play this fiddle two blocks from the ocean – period. don’t ask me to.” “okay.” then we got out in the studio in hollywood, and he began to play a thing and put the fiddle right down. i said, “what’s the matter now?” he said, “there are too many doors in here. the doors are a problem.”

(9) but you know me, i’m just a turnip truck driver from santa monica. i don’t necessarily have any real understanding of this stuff. 

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