Amazing Songs & Other Delights #44 – The Dulce et Decorum Est edition by Raquel Pinheiro

Amazing Songs & Other Delights is back with a new programme the #44 – The Dulce et Decorum Est edition that airs tomorrow on YĆ© YĆ© Radio: yeyeradio.com/(or on the app)

Dulce et Decorum Est is a line from Horace’s Odes of which the full sentence is “Dulce et decorum est pro patria mori” (it is sweet and fitting to die for one’s country) used as the antithesis, “The old Lie”, as an expression of senseless loss of life of the glorious meaning in Horace by Wilfred Owen in his poem of the same name.

April 24th is the eve of 25 de Abril (April 25th) that came to be know as A Revolução dos Cravos (The Carnation Revolution) a military coup d’etat that deposed the 48 year Military than right wing running dictartorship (28.05.1926-15.04.1974) in Portugal leadimg to the demise of Portugal’s Colonial War (1961-1975)
Owen wrote Dulce et Decorum Est while a soldier in the trenches of WWI. Wilfred died seven days before the 1918 Artistice Owne’s poems were mosty written between August 1917 and September 1918 and live on.
The programme opens with Christopher Eccleston reading Owen’s poem and ends with the choir of prisoner soldiers in Merry Christmas Merry, Mr. Lawrence singing the 23rd Psalm.

Not all songs relate to war. At least not in the strict sense of war. Some approach daily struggles, the hardships of working people or racism or injustice. The Portuguese songs are from before the end of the dictartoship. From a time when every word had to carefully measured, inuendos or love, romantic and longing song spoke what could not be said. Although Reinaldo Ferreira poem sang by JosĆ© Afonso is rather to the point, the soldier will only return home in a pine box. Chico Buarque’s Construção is a critique of the Brazilian social situation under the Brazilian military dictatorship (01.04.1964-15-03-1985).

Both Dulce et Decorum Est and 23rd Psalm can be read bellow the tracklist.

Tracklist:
01 – Christopher Eccleston – reads Dulce et Decorum Est by Wilfred Owen
02 – Comunicado do MFA – Aqui Posto de Comando
03 – The Doors – The End (from the Soundtrack of Apocalypse Now)
04 – Billy Bragg – Waiting For The Great Leap Foward
05 – Bob Dylan – Blind Willie McTell
06 – Bruce Springsteen – The River
07 – Chico Buarque – Construção
09 – Dire Straits – Brothers In Arms
10 – Elvis Costello and the Attractions – Oliver’s Army
11 – Fernando Tordo – O CafĆ© (JosĆ© Carlos Ary dos Santos’ poem)
12 – JosĆ© Afonso – Menina dos Olhos Tristes (Reinaldo Ferreira’s poem)
13 – Manic Street Preachers – Let Robeson Sing
14 – Marvin Gaye – What’s Going On
15 – Monophonics – There’s A Riot Going On
16 – Public Enemy – By The Time I Get to Arizona
17 – Richard Wagner – Ride of the Valkyries excerpt (from the Soundtrack of Apocalypse Now)
18 – Ryuichi Sakamoto – 23rd Psalm (From the Soundtrack of Merry Christmas Mr Lawrence)

Dulce et Decorum Est by Wilfred Owen

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs,
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots,
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of gas-shells dropping softly behind.

Gas! GAS! Quick, boys!—An ecstasy of fumbling
Fitting the clumsy helmets just in time,
But someone still was yelling out and stumbling
And flound’ring like a man in fire or lime.—
Dim through the misty panes and thick green light,
As under a green sea, I saw him drowning.

In all my dreams before my helpless sight,
He plunges at me, guttering, choking, drowning.

If in some smothering dreams, you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil’s sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,—
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

23rd Psalm as in Ryuichi Sakamoto’s version for Merry Christmas, Mr. Lawrence

The Lord’s my Shepherd, I’ll not want;
He makes me down to lie
In pastures green; He leadeth me
The quiet waters by

My soul He doth restore again
And me to walk doth make
Within the paths of righteousness
E’en for His own name’s sake

Yea, though I walk in death’s dark vale
Yet will I fear no ill;
For Thou art with me, and Thy rod
And staff me comfort still
My table Thou hast furnished
In presence of my foes

All previous shows: http://www.mixcloud.com/infoyeye/stream | http://www.mixcloud.com/raquelpinheiro/stream/

Bill Callahan – Theatro Circo, Braga, 15.04.2023.

© Mondo Bizarre Magazine/João Vilares

In A State Of Deep Contemplation

words & photos: João Vilares; editing: Raquel Pinheiro

Bill Callahan takes to the stage accompanied by Matt Kinsey (guitar) Jim White (drums) and Dustin Laurenzi (saxophone) for what thesecond concert of his European tour – ranging April 14th to 27th and in addition to Lisbon and Braga includes Madrid, Valencia, Barcelona, Bordeaux, Rennes, Paris, Lille, Brussels and Amsterdam, in a total of 13 shows.

The completely sold out spectacular Theatro Circo’s Main Hall, in Braga was the perfect atmosphere for what Bill announced: “As we’re coming out of dreams/ And we’re coming back to dreams”, from the chorus of First Bird.

The motto was set for the script of an American folk story about simple people in a wild land where poetry and overwhelming love are in the most mundane things and therefore so easy to get caught up in the feelings that are also, after all, of our own.

Without ever introducing himself or any member of his band and parsimoniously interacting with the audience, Bill Callahen made it clear that he was there for the music and that his extraordinary voice, the details of White’s jazzy drums, the almost psychedelic solos of Laurenzi’s saxophone and the perfection of Kinsey’s guitar were more than enough of a business card. If it was!

Predictably, Bill Callahan has mostly gifted us with songs from his latest album, Reality (2022). There was, however, room for other more or less inescapable themes of his discography, like Cowboy(Gold Record, 2020), Small Plane (Dream River, 2013), Drover (Apocalypse, 2011) or, already in the encore, the beautiful Too Many Birds (Sometimes I Wish We Were An Eagle, 2009), not before visiting Smog in Hit The Ground Running (Knock Knock, 1999) and Keep Some Steady Friends Around (Rain On Lens, 2001).

Natural Information served as a farewell to Portugal and, despite the inevitable feeling of missing one or another song, it did not prevent getting us “in a state of deep contemplation”.

© Mondo Bizarre Magazine/João Vilares
© Mondo Bizarre Magazine/João Vilares

Nick Oliveri, Hard Rock Cafe, Porto, 13.04.2023.

Ā© Raquel Pinheiro

Raw Power

words & photos: Raquel Pinheiro

There are front row seats and then there is from row standing by the stage, almost upon it, with Nick Oliveri a few centimeters from you. Or crouched, leaning against the stage monitor that happens to be on the floor. Either way, surrounded by fellow concert goers, gathered in a semi-circle, all going with the flow (pun intended). Flow, in your face, straightforward, energetic, speed up, semi-calmness interrupted by loud, abrupt screams or a shouting shortly broken by some mellowness are some ways of describing Nick Oliveri’s concert at Hard Rock Cafe in Porto.

It is Nick, dressed in black trousers and trainers and dark green t-shirt with a Nick giving a middle finger salute, an acoustic-electric guitar, a microphone, a raspy voice, and us. There are no barriers, no middle-men. We’re there, absorbing the rawness, feeling the sway of the floor boards, our jumpiness and singing along, dancing, grooving as on full gear as the man on stage. It’s a give and take from both sides, feeding from each other energy.

From Kuyuss’ Green Machiche till the end of the encore, Nick’s head, forehead and guitar become increasingly wet and sweaty, glittering water lines running down the black wood body. Between beginning and end there are Kuyss, Mondo Generator, Queens of the Stone Age songs, and boy do those songs rock the boat and throw us for a loop. Oliveri’s delivery is fearless, down to earth, to the heights of true punkness veering into daredevilness, or totally diving into it. At a point, my notebook gets a spit, or was it a drop of sweat? Both?

By Feel Good Hit of The Summer we’re loud singing and screaming the hallucinated acceleration of Nicotine, Valium, Vicodin, marijuana, ecstasy and alcohol in a maniacal crescendo, then Nick picks it up, but we’re back to those words Nicotine, Valium, Vicodin, marijuana, ecstasy and alcohol that if the vice squad was around would have lead to an interesting evening. The floor seems to want to give, will there be a stage invasion? Not really, but we’re closer to the stage if such thing is possible since we’re pretty much clued to it.

But before we got there we had been through the night’s moving moment, the heartfelt and out-there-hello-psychedelia rendition of Nick and us singing Auto Pilot, us kind of being the spirit of Mark Lanegan to whom Oliveri dedicated the song both used to sang on Queens of the Stone Age.

The leave, lost and broken love songs Gonna Leave You and Another Love Song, also part of the menu, retained their directness. We sang more, Nick sang more too, and loud, and loud we too were, played on fire, fast and furious. As the end approached it all got rather explosive with the cover of G.G.Allin’s Outlaw Scumfuc. Roky Ericson’s Bloody Hammer, dedicated to Ricardo, from Sonic Blast was another shot of intensity. As it was the final Nick & Mick (as in microphone) frantic incantation and incarnation of the banshees leaving everyone breathless.

Ā© Raquel Pinheiro
Ā© Raquel Pinheiro