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WRECK: The Gangster Poet

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  • ninplant@xs4all.nl
    wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam Ethno-Illogical Psycho-Radiographies: 312: Eddie Woods PTP in the ether: 88.3FM Where purity & puerility are
    Message 1 of 1 , Dec 11, 2005
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      wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam

      Ethno-Illogical Psycho-Radiographies: 312: Eddie Woods

      PTP in the ether: 88.3FM
      Where purity & puerility are synonymous
      streaming via internet:

      14 November 2005 / 16.45-19.00

      "I'm Drinking more bourbon / another step up the enjoyment ladder."
      o Eddie Woods, "Later Lyrical Musings

      "Farmers. Such a shame they're needed for growing food."
      o Eddie Woods, "Farewell to Devonshire"

      Bitches Brew > Miles Davis [1]
      YOU DON'T KNOW ME > Jerry Vale [2]
      I WALK THE LINE > Johnny Cash [3]
      The Spell of the Yukon (Service) > Eddie Woods [4]
      All The Way > Frank Sinatra [5]
      TAKE THESE CHAINS > Hank Williams [5a]
      Dangerous Precipice > Eddie Woods [4]
      A Refusal to Mourn the Death, by Fire, of a Child in London > Dylan Thomas [6]
      Sale or Return > Eddie Woods [4]
      April in Paris > Thelonious Monk [7]
      A Ghost of a Chance (I Don't Stand) > Thelonious Monk [7]
      Functional > Thelonious Monk [7]
      HUNDERT MAN UND EIN BEFEHL > Freddy Quinn [8]
      'Round Midnight [in progress] > Thelonious Monk [7]
      The Beat Generation > Jack Kerouac [9]
      Plastic Madonnas > Eddie Woods [4]
      Stella by Starlight > Stan Getz [9]
      Line for Lyons > Gerry Mulligan [9]
      Amsterdam > Jacques Brel [9a]
      Magic Amsterdam > Eddie Woods [4]
      Ain't No Cure for Love > Leonard Cohen [10]
      Portrait of Jenny > Eddie Woods [4]
      Just Say No to Drug Hysteria > William Burroughs [11]
      Tsunami of Love [exc] > Eddie Woods [12]
      Tower of Song > Leonard Cohen [10]
      LOVER > Dick Damron [10a]
      Farewell to Devonshire > Eddie Woods [12]
      Versions from the Strangest Dream > Phil Minton & Veryan Weston [13]
      Old Dan Tucker > Phil Minton & Veryan Weston [13]
      MARMOR, STEIN UND EISEN BRICHT > Drafi Deutscher [14]
      London Sonata / This Time in Katmandu > Eddie Woods [4]
      Tangiers Quartet > Eddie Woods [4]

      [1] "Bitches Brew" on Columbia vinyl. Again, contentious Davis
      material. At the brink of going funky and to some heading into
      seditious territory. But he never seemed to care. Perhaps EW's
      favorite Miles Davis recording (although even he admits that's a hard
      call when it comes to Miles). That Woods feels Bitches Brew has
      strong erotic qualities is attested to by a reference in the opening
      passage of his story A Gift from the Goddess:

      [2] The original 1956 recording. EW, then 16, was at the time living
      on his own in Saranac Lake, NY, and says he experienced "the entire
      song...word for word, line by line." Lately it seems to be enjoying a
      revival of sorts, including (believe it or not) at erotic performance
      events in Amsterdam. Lennie St. Luce, for one, recently sang it at
      the church in Ruigoord and then Club NL on the Nieuwe Zijds
      Voorburgwal. Song written by James van Heusen and Sammy Cohn. FS
      remains one of the pop demi-gods [to EW] who 'gave' something to EW
      during his development in his tender years. FS might have given EW a
      sense of swaggering self, a manner to appear cool when actually one
      is desperately trying to hold onto a solid non-swirling middle. We
      have had the discussion before: to me FS is terribly overrated, to EW
      he is god.

      [3] Again during the now so-called Saranac Lake years. Very much a
      New York City boy, EW first got turned on to country & western music
      during his time in the Adirondack Mountains, "where you had to tune
      to the CBC out of Montreal to hear anything but." And this was the
      song that first swung him to the magic of country. Though EW's
      musical tastes are eclectic (from jazz to classical, and these days
      even including opera), C&W remains high in his listening repertoire.
      And the Man in Black is a major EW icon.

      [4] Service, aka The Bard of the Yukon, was an early influence on EW
      (and in stark contrast to another poetic discovery of his youth,
      namely Dylan Thomas). This recitation is from Woods' spoken-word CD
      Dangerous Precipice (released October 2004):
      <http://delta-s.org/Eddie_Woods/dangerous_details.jpg>. Unlike most
      poets, Service made a great deal of money from his writings. Indeed,
      one ballad alone, The Shooting of Dan McGrew, earned him a cool half
      million dollars. His Collected Poems has never gone out of print,
      although (unfortunately) his 2-volume autobiography has. Well worth a
      Google search, for biographical info as well as his poetry. The quite
      different qualities of the 2 poets are noticeable in, on the one
      hand, EW's ear for precision and accuracy, for detail and yet it has
      room for the love of the SOUND of poetry that Thomas best exemplifies.

      "Dangerous Precipice" is, of course, the title track of EW's CD. From
      it, as well, are Sale or Return, Plastic Madonnas, Magic Amsterdam,
      Portrait for Jenny (also in Woods' most recent collection, Tsunami of
      Love: A Poems Cycle - for more about which see below), London Sonata,
      This Time in Kathmandu, and Tangiers Quartet. The entire 60-minute CD
      consists of EW reading 33 of his own poems along with seven poems by
      others: A.E. Housman (2), Lord Byron (1), and Robert Service (4). And
      yes, The Shooting of Dan McGrew is included.

      [5] This is the Reprise Records version of the song that made EW a
      big-time Sinatra fan for life. "I was 17, sharing a flat on
      Manhattan's West 71st Street with a cousin who was in heartbreak
      mode, while myself being tortuously involved with a nightclub singer
      up in Rochester. Frank was the perfect late-night companion: the
      sound, the style, the things he sang about. When it comes to
      addressing the subject of love, I still find him perfect. He's The
      Voice, over & out."

      [5a] Hank was the first superstar of Country. Women and men alike
      fainted when he did his break-voice yodels. He had a unique gift of
      combining voice, vocal tricks and common-folk poetry into something
      that still represents Country's high point. Ray Charles and others
      also did this song splendidly, but there's something about Williams'
      rendition that strikes the right chord for someone still coping with
      the aftermath of a relationship that was.

      [6] EW first heard Dylan Thomas (on Caedemon Records) when he was 15
      and living, working, attending high school in Branford, Connecticut.
      Having previously toyed with short stories, he almost immediately
      began writing poetry himself. "It took me ages to understand this
      poem, along with much of Thomas' other work. But I didn't care. The
      images were so powerful, even on paper, and the voice so
      spellbindingly sonorous, that I knew it would eventually come. As it
      did, years later, in a flood."

      [7] "Thelonious Himself" on Original Jazz Classics. EW: "I love jazz
      piano, perhaps because I studied the instrument as a kid and then
      gave it up...once I learned to appreciate music! I especially dug
      Erroll Garner, Teddy Wilson & Frankie Carle. As for Monk, I only
      caught him live once, at the 1960 Newport Jazz Festival. Not on the
      main stage in Peabody Park, where the fans rioted and finally martial
      law was declared...what a wild 'n groovy trip that was!, but at a
      counter-festival that Thelonious organized in another part of town.
      At Peabody, however, I did catch (and very close up) both Louis
      Armstrong and Nina Simone." Monk, as portrayed on one famous album
      cover, also came across as artist-gangster-terrorist for the right

      [8] EW: "Freddy Quinn, aka der Freddy, was one of Germany's most
      popular singers for several decades (he actually retired only a
      couple of years ago). He sang about the sea and sailors, the
      adventure of traveling, and a lot about Hamburg... the St.
      Pauli/Reeperbahn red-light district in particular. Then, seemingly
      out of nowhere, in 1966, with Vietnam raging, came this song. Set to
      the tune of Barry Sadler's obnoxiously gung-ho Ballad of the Green
      Beret, it's in fact a thoroughgoing anti-war song: 'Tagein, tagaus,
      wer weiss wohin/Verbranntes Land, und was ist der Sinn?' ('Day in,
      day out, who knows where to/A scorched country, and what's the
      point?'). I've since discovered this wasn't Freddy's only such song,
      either. Adds a new dimension to the guy."

      [9] "Jazz of the Beat Generation" on Jazzfm <records@...>. EW:
      "Kerouac is here because...well, like most of us, I read a lot of
      Jack and even published his daughter Jan (in Ins & Outs magazine),
      plus knew personally (as well as published) many other Beat-era
      writers, (e.g. Ginsberg, Corso, Huncke, et al)." Kerouac in some ways
      defined the erosion of naivete/innocence of the 1950s. While
      Borroughs captured the paranoia/cynicism of the new awareness that
      there IS an US vs Them, but that this binary system needed to be
      adjusted by a counter-media as championed by political writers and
      Burroughs & Ginsberg. As for Getz & Mulligan...hey, man, it's jazz!

      [9a] "Jacques Brel: De 24 Grootste Successen" on Barclay. EW: "You
      can't be in Amsterdam and not have Jacques Brel, or? Although
      interestingly enough, during his entire career Brel performed in the
      Netherlands only once, at a very small club to an even smaller
      audience. And then vowed to never return." Brel was recently on the
      short list for voting for the most important Belgian of all time. He
      was one of only 2 I really knew anything about! Eddie Merxcks, the
      Tour de France great, was the other! Those secretive Belgians moving
      through world history like little stealth bonbons.

      [10] EW: "Not so easy to pick a favorite Leonard Cohen album. They're
      all good, from the earliest to the most recent. Ditto his poetry
      collections, and his novels. But okay, I guess the one with these two
      tracks on gets the nod: I'm Your Man (1988). The voice is already
      captivatingly whiskey & cigarette deepened since the Suzanne days,
      his take on life & love about as beautifully cynical as you can get.
      The song Ain't No Cure for Love very much fits my mood at the moment.
      And I used a couple of lines from Tower of Song as one of the
      epigraphs in the title poem of my latest book." Cohen was also
      essential to my emerging poetic awakening [synchronized with pubic
      hair and wet dreams] when I read his amazingly surreal novels and
      stories as well as his poems.

      [10a] EW: "Ah, Dick Damron. Knockout Canadian country & western
      singer/songwriter. Lives near Red Deer in Alberta, but especially
      nowadays spends more than half the year in Mexico. I'd recorded Lover
      off the radio in the mid-80s, but had no idea who was singing it or
      even what the title was. Nearly 20 years later I went on a hunt to
      find out. The search finally paid off with a phone call from Damron
      and then him sending me the album it's on, Last Dance on Saturday
      Night. There's also a whole story about why I went looking, but it's
      too long & convoluted to go into here. Bottom line is I now like all
      his stuff. Oh, I also used a stanza from Lover as an epigraph in
      Later Lyrical Musings, the sequel poem in my collection Tsunami of
      Love: A Poems Cycle." I appreciate a few of the lines but his style
      and production are the very elements that is killing anything genuine
      about country. It's a little like laminating an internal organ.

      [11] "Like a Girl, I Want You to Keep Coming" on Giorno Poetry
      Systems. Woods got to know Burroughs in the late 1970s, in Amsterdam,
      initially via the late Benn Posset and his hugely significant One
      World Poetry festivals and other major performance events. Then, in
      the 1980s, whenever he was in town, WSB would stop by the Ins & Outs
      Press offices to visit. In September 1993, EW co-emceed (with
      Johannes van Dam) a Burroughs tribute evening at the Melkweg that
      included the audience listening while EW & WSB chatted on the phone
      (A'dam-Lawrence, Kansas). One of the things they discussed was 'the
      other Eddie Woods,' a witness to WSB's accidental fatal shooting, in
      1951, of his wife Joan Vollmer in Mexico. Following the publication
      of Ted Morgan's bio of Burroughs, Literary Outlaw, many people
      assumed he & EW were the same person. The more records Giorno put
      out, the lower the quality and the higher the star-fuck factor. Still
      always some good stuff to hear.

      [12] EW reading selected stanzas from the two long letter-poems in
      his new book, Tsunami of Love: A Poems Cycle
      "Farewell to Devonshire" is the last of four shorter poems in the
      third section. Available in many Amsterdam outlets, both the book and
      EW's CD can also be mail ordered from <metal.dragon@...>.

      [13] "Ways Out West Ways Out East" on Intakt < www.intaktrec.ch> .
      Strange vocals and selection of songs and rants that goes from
      anarchist manifesto to old hillbilly nuggets. PM is a strange but
      amazingly evocative vocalist who I had the pleasure of seeing at the
      OCCII [premier Amsterdam palace for unpretentious experimentation and
      very little administrative red tape]. I spoke to him after his
      concert and we talked about - surprise - yodeling and he mentioned
      how in his native Devon some of the locals speak with a voice break
      that resembles yodeling. Nothing like a rousing combination of
      political awareness and aesthetic chance-taking.

      [14] EW: "A big hit in mid-60s Germany, when I was just getting into
      what soon became a very stormy relationship. Since it's still in my
      collection, I just had to play it. It's got a great beat. And Drafi
      was smart enough to record an English version, which in 1966 made it
      onto the US charts. Most of his songs have done fairly well and he's
      still recording."


      EW bio

      EDDIE WOODS was born in New York City in 1940. At age 20, facing the
      draft and not wanting to get his fingernails dirty, he joined the US
      Air Force for a 4-year stint, spent mostly in Germany. He
      subsequently lived and traveled in divers parts of Europe, North
      Africa and both the near & farther East, additionally crisscrossing
      much of the United States twice. After residing for two decades in
      Amsterdam (where he edited an international features magazine, ran a
      small English-language literary press, and was a contributing editor
      for the London-based underground newspaper International Times), he
      moved to England for the third time, passing six years in a remote
      corner of the Devonshire countryside until returning to Holland in
      the autumn of 2004.

      A published poet & prose writer since his late teens, Eddie has
      variously worked as a short-order cook, computer programmer,
      encyclopedia salesman, restaurant manager, journalist (Bangkok Post,
      ABC Radio News, New York Times, Tehran Journal, etc.), radio DJ, and
      precious gems dealer. His work has appeared in numerous periodicals,
      including most recently several issues of Exquisite Corpse, as well
      as the web magazine Parisiana.

      Having previously released three volumes of verse, namely 30 Poems
      (1973), Sale or Return (1981), and an erotic fairly tale in rhymed
      quatrains entitled The Faerie Princess (1994), in October 2004 Eddie
      realized the publication of his long-awaited poetry CD, Dangerous
      Precipice. His latest book, Tsunami of Love: A Poems Cycle (September
      2005), is the inspired offspring of a deep romantic turmoil that
      could only be transcended on the wings of passionate song.

      Several more books (poetry, prose, photography) are in the offing;
      while in 2003, Eddie's substantial archive was acquired by Stanford
      University in Palo Alto, California.

      Eddie Woods is also no stranger to the performance circuit, in the
      Netherlands and elsewhere (e.g. Germany, San Francisco, New York,
      etc.). In the past he appeared at several One World Poetry festivals
      and other Soyo Productions events, in 1992 at the North Sea Jazz
      Festival (poetry & jazz), followed by the Crossing Border festival,
      along with dozens of smaller readings all over Amsterdam. And from
      1995 through till 1998, he organized much-heralded monthly poetry
      evenings at Café Co Meyer in Amsterdam's Jordaan quarter. The year
      2005 also saw him taking to the stage at a number of carefully
      selected venues, from Waterstone's Bookshop to the church in the
      artists' colony of Ruigoord.

      Comments on Tsunami of Love:

      "Tsunami of Love is a very powerful, very personal sequence. As Auden
      said, the only good love poetry is sad love poetry, and it's true;
      the rest tends to be schmaltz. It must have been a painful process,
      but it was obviously worth it. You manage to stay in control of the
      material, when the risk is always the opposite with such poetic
      subject matter. Inevitably there are times we feel we are
      eavesdropping a private conversation with references we don't know
      about; but generally I think it manages to be both very personal and
      relevant to the disinterested reader, as well. You keep the language
      simple yet strong, and the poems uncluttered. While the poem "Only
      Between Thighs" is a tour de force, a manifesto of the creative power
      of the erotic."
      --> Peter Mortimer, writer/publisher (Tyne & Wear, England)

      "I received your Tsunami of Love book of poems and read it for
      several days and nights. It hypnotized me. I think it's a work of
      genius. I'm very sincere about this....I was overwhelmed by the power
      of your talent, which I actually decided was your genius for the most
      part. The sensitivity, clarity and natural gift of gab, i.e.,
      enlightening, charming, uplifting the reader, whoever he or she is.
      You've certainly got the gift of gab in the best sense of the term.
      It's a rare gift."
      --> Harold Norse, poet (San Francisco)

      Notes on other Patapoe audionauts & nuts:
      o Jonges v/d Vlakte [Boys from the Plains]: "De cottonpickin' Jongens
      van de cottonpickin' Vlakte" play a piquant, illuminating, and
      playfully irritating mix of faulty music, of near-misses, of obscure
      failures, of world music that is not from this world 19.00-20.30
      [Dutch time, subtract 1 hr for UK, subtract 6 hrs for US East Coast]
      Mondays @ PTP

      o Dr. Doo Wop is one of the most eccentric and stimulating radio
      shows anywhere. Sartre, DeSade, Doo Wop and music from the gonads.
      Now on Radio Patapoe on Sunday 17.00-18.00 Amsterdam time

      o Radio Antarctica is in temporary exile in the UK. Expect periodic
      patriotic broadcasts to rouse the troops on the mainland.

      o Rara Runnynose: "wonky-tonk, flop'n'roll, kids musique and
      infomercials live in a haunted house. tech? NO!" 17.00-19.00 Tuesdays

      o POLYPHAKE PLAPPERLAPAPP: "polyphone audioerosion featuring
      occasional beatweirdniks in an plaperlappap assemblage hosted by
      F.Fiasko 22:30-?? Wednesdays

      o Radio Worm: Rotterdam-based radio collective presents inventive
      programming to baffle all preconceptions. Midnight Sundays and in
      autopilot rotation.

      o HET PROGRAMMA: industrial lounge for collapsing people. Tuesdays 21:00
      * new home of Amsterdam's Radio Vrije Keyser: 89.6 FM
      * Radio Tonka, The Hague's 10-year-old free radio <www.radiotonka.nl/>
      * Radio Wanklank 90.9 FM, free radio in Wageningen <www.wanklank.nl>
      * Radio Libertaire, Paris 89.3 <http://dune2.info:5000/radiolib.m3u>
      * Black Sifichi / Audiometric is broadcast on :
      Aligre FM / 93.1 Paris (sat 22.30 - sun 7:00) http://www.aligrefm.org
      Eko Des Garrigues 88.5 FM Montpellier ( 19h - 22h)
      RTF 95.4 FM Limoges (wed 21h-23h) http://www.rtflimoges.com)

      Send all sound material for airplay and review to:
      Wreck This MeSS
      Radio 100 / Radio Patapoe
      bart plantenga
      Zeilstraat 23 / II
      1075 SB Amsterdam
      the Netherlands

      o Old playlists archived at <http://www.wfmu.org/~bart/
      o Selected Playlists at http://www.romanapoli.com/black/wreckthismess.html
      o Someday: <http://wreckthismess.com/>
      o Check out NEW excerpts from my erotic-dérive novel: Paris Sex Tete
      on Parisiana <http://www.parisiana.com/>


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