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Overture (free) 00:17
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She wore a Clark Kent pantsuit with shark bite seams She tore a line in the horizon with her high beams She was all about the gutters All about the eaves Shut her blinds but her mind's eye's on wide screen Was every spark of electricity just my eyes playing tricks on me or the black mark of dark victory? She swore to Ronald Reagan with a Clark Gable grin, "We'll stabilize this patient once the horse pills kick in." His pompadour was on the floor The room began to spin Now they're dancing on the gables like angels on a pin Was every spark of electricity just my mind playing tricks on me or the black mark of dark victory? He said, with eyes as empty as the bottle of vermouth, "I didn't catch your name when we were falling off the roof." She left the olives in the glass and picked her tooth and said, "I'll tell you if you want, but don't expect the truth." Every spark of electricity was my heart playing tricks on me Oh, the black mark of dark victory! Oh, the black mark of dark victory! Oh, the black mark of dark victory!
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Jezebel, Jezebel How ya like the view from down there, Jezebel? "Things are looking up as far as I can tell from the bottom of this well." Well, well, Jezebel An hour every day, the sunshine fills that saucer up above, then flies away I suppose, from where you sit, you gotta make the most of it -- Just because it goes, don't mean it quits! Jezebel, Jezebel Everybody's pulling for you, Jezebel Things are looking up as far as I can tell from the bottom of that well. Well, well, Jezebel The only antidote to cure your claustrophobia's a perfumed ransom note Be sure to act surprised when no handsome groom replies by crying out your flying saucer eyes crying out your flying saucer eyes And you say "Hope is just a telescope; Could I be any clearer? You're looking at the Universe by looking in a mirror Hope is just a telescope Darling, can't you see? You ain't gettin' any closer just by looking at me. You ain't gettin' any closer just by looking at me." You ain't gettin' any closer.... Jezebel, Jezebel Where ya gonna go from here, Jezebel? "I've already gone a long long way as far as I can tell if you count the distance that I fell. If you count the distance that I fell. If you count the distance that I fell."
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Table for two set on Hawaiian, thrift-store tablecloth in the the paper-plated corner of your kitchenette Cracks in the plaster leaky faucet in the sink Still, I think that was as close to perfect as it ever gets Not bad for a first try Not bad for two beginners and if things had worked out different I'd be more than just the man who came to dinner It ain't too hard to recall that summer at your parent's place, the expression on their faces when we told them 'bout it all Me and your dad out there on the front porch talking politics and sports just like a son he never had Well, I hope they're doing fine down in Miami every winter 'cause if things had worked out different I'd be more than just the man who came to dinner Guess I should stop by My flight gets in at 5 but my connection's not 'till 9 I've seen your photographs online: Halloween and Christmas; Little princess posed beside you like a witness to your crime I can see she's got your eyes There's so much of you in her And if things had worked out different I'd be so much more than the man who came to dinner
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Middle of the Hudson River Bay Your Pall Mall filters cherry lipstick stained Staten Island Ferry sunk in the bat of an eye and you cried, “Batten down the hatches, boy Keep the matches dry Batten down the hatches, boy Keep the matches dry” Batting your lashes like you’re Cassius Clay Gloating, “I’m the greatest, by the way.” Then your pupils grew wide as we swam into the shade of the Snoopy balloon from the Macy’s Parade Float like a butterfly I still feel the sting like an Indian burn from that dirigible string Barren eyes flashing red as the Flying Ace flew his flight overhead “Hold on tight” was all you said “Hold on tight, hold on tight” was all you said Float like a butterfly You gave me the slip as you pulled that Pall Mall from your cherry lips Well, I gave you my all; What more could I do? You shed it like a chrysalis; just another Hell you’d been through All this All this, and Heaven too All this All this, and Heaven too Middle of the Hudson River Bay I watched that big balloon flying away The wind snatched it It vanished in the bat of an eye Perhaps it crash landed in the French countryside where from Hell up to Heaven the doughboys still cry “Batten down the hatches, boys! Keep the matches dry! Batten down the hatches, boys! Keep the matches dry!”
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We faced them together but lost by a nose Click your heels -- you’ll still feel it when this wheel of fortune slows It itches and squeals in the folds of your clothes as the stable-gate swings in the rain Whatever happened, Baby Jane? Whatever happened, Baby Jane? That zoetrope motion That carousel sound The careful commotion of hooves off the ground froze in the flicker of a merry-go-round broken down frame by frame Whatever happened, Baby Jane? Whatever happened, Baby Jane? Lights low for the lesson; It’s easier to watch the slides in succession through the pinholes on the box That photo-flash finish comes ‘round again on the clock Odds are good it’ll end the same Whatever happened, Baby Jane? Whatever happened, Baby Jane? Whatever happened, Baby?
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"I love that music..." (free) 00:58

about

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Watch the video for Dark Victory: www.youtube.com/watch?v=PjQU4OsnGwo

Special limited edition retro film canister packaging includes 28-page booklet, imagined movie stills by John Soares, matchbox**, etc.

Bette Davis is a legend of the cinema; the ultimate classic Hollywood star. Her style and attitude have had a cultural impact that goes far beyond the screen. And now, finally, her impact on musical inspiration will go far beyond “Bette Davis Eyes.”

THREE ON A MATCH is a new songwriting project from songwriters Neil Carlill (Lodger, Delicatessen), Jeff Mellin (The Eddies, Miss Mary) & King Toad (Furious Skinny, The Michael Tabors). Inspired by the films of the great Bette Davis, their songs draw on plot elements, characters, actors, biographic details, or, in some cases, the film titles alone.

Carlill (fresh from his collaboration with Duran Duran’s Warren Cuccurullo) and Mellin (fresh from his own recordings with the Velvet Underground’s Doug Yule) had been looking to collaborate for years. They decided the best place to start would be their shared love of old movies. And of course, the films of Ms. Davis were at the top of their list.

“Each Bette Davis film resonates with me in its own way,” says Carlill. At times he finds inspiration in of the back story, rumor mill and pop-culture trivia because “the surrounding mythology yields too much comedy, irony and tragedy to go un-eulogized.” He conceived abstract character sketches and highlighted iconic lines to evoke the films’ atmosphere and to produce a musical structure “that sets the listener quite literally off-balance.”

Mellin says that Bette Davis movies are “perfect seeds for songs.” His approach was to focus on the titles alone: “I wanted to let the raw sound and rhythm of the words shape the songs’ creation, knowing there’d be no escaping the inherent aesthetics and my own subconscious associations.” He says the titles’ infuse the songs with a “vintage mystique” and “cinematic narrative” that results in the “sort of memory dream you might’ have falling asleep to Turner Classic Movies.”

To fill out the trio, Carlill brought in King Toad, who found inspiration characters, dialog and even historical context. “My approach was different for each track,” says Toad. He comes at the material from perspectives inside an out of the film, and deals with plot elements, controversies surrounding the films, the overall sense and feel of the films, as well as their unifying roots. “Both “Of Human Bondage” & “The Letter” are based on the works of W. Somerset Maugham,” he notes. “I was happy to be able to write songs for the pair.”

These three varied approaches yield an album that is complex, witty, dark and even romantic -- not unlike Ms. Davis herself. Sticking to minimal, mostly acoustic arrangements, the three artists create a mood that evokes the playfulness of a Saturday matinee, the nostalgia of an old movie house and the solitude of private screening.The thirteen songs span Davis’ entire career, from early pre-code romps like “Cabin In The Cotton” and “Parachute Jumper” through her artistic heights of “Dark Victory” and “All About Eve” and and up to the high camp of “Whatever Happened to Baby Jane?” and “Hush... Hush, Sweet Charlotte.”

To celebrate Davis’ 103rd birthday, the album was pre-released as a name-your-own-price download on April 5.

On May 26, Stereorrific will officially release the album on matchbooks (yes, real matchboxes) with high-quality downloads, as well as a limited edition CD package, complete with film canister, 28-page book, Cindy-Sherman-esque imagined movie stills, and other surprises.

About the three:

NEIL CARLILL was a founding member of DELICATESSEN (Rough Trade/Big Life) who recorded 3 albums on the 90s alternative/experimental scene. He later was part of Lodger (Island Records), who landed the track ‘I’m Leaving’ in the UK Top 40. Neil is also currently one half of CHICANERY w/Duran Duran’s Warren Cuccurullo. Neil has also worked on other projects including ME ME THE MOTH w/ Marcelo Radulovich, VEDETTE w/ Manuel Stagars & Jayrope, 5 LITTLE ELEPHANTS w/Charles-Eric Charrier & SHOOSH w/Craig Murphy & Ed Drury.

“Each Bette Davis film resonates with me in its own way, and for this project my approach to the songwriting differed slightly according to the film whose title I was borrowing. In writing ‘All About Eve’ , for instance I aggregated elements of the back story, rumor mill and pop-culture trivia encompassing the film, its stars and its production. As wonderful as the film itself is, its surrounding mythology yields too much comedy, irony and tragedy to go un-eulogized. For ‘Mr Skeffington’ I conceived the lyrics as an abstract sketch of BD’s character, Fanny Skeffington, with a sympathetic angle on her emotional inner-life through the trials she endures - especially where the aging process is concerned. ‘Cabin in The Cotton’ inspired an even more abstract take, in which I tried to evoke the film’s atmosphere as a whole, and highlighted lines of dialogue that have, to my mind at least, become iconic. ‘Now Voyager,’ being a film that forthrightly addresses psychological despair, led me to try and produce a musical structure that sets the listener quite literally off-balance, combined with a lyric that empathizes with Charlotte’s dissolution, and celebrates the development of her character.”


JEFF MELLIN is a multi-disciplinary artist & musician whose jangling melodies and crafted lyrics blend Americana w/ Mersey Beat & sun-shower pop. The former frontman for the 90s Boston-based twangle-pop group THE EDDIES has released a series of classic pop and melancholic swamp-folk recordings including Jeff Mellin Saves The World (Stereorrific) & Good For A Gander (Stereorrific). His most recent, Love Is Made Of Sky (Stereorrific/dPulse) features the Velvet Underground’s Doug Yule, members of SHRAG and “Orange” Nichole Ferree. His lyrics have been anthologized in “Skin & Bones” (Kolourmeim Press) and his songs covered by artists incl. Miss Mary, Death by Chocolate, Superdrive and Slide.

“I’ve gradually come to the conclusion that the best way to get ‘at’ a song is to get out of its way. Which is to say, stop worrying about what the song might be ‘about’ and let the song find itself. A good way to do this is to start with parameters. linguistic game rules, or themes unrelated to anything I might be inclined to be writing songs about. I’ll then nurture the song as it grows and evolves within that environment, and trust that the “about” and “meaning” will come on its own.

Bette Davis movies are, in this way, perfect seeds for songs. But to avoid distractions of journalism or the trappings of tribute, I chose to ‘liberate’ the movie titles from the original content and context. I wanted to let my imagination and the raw sound and rhythm of the words shape the songs’ creation, knowing there’d be no escaping the inherent aesthetics and my own subconscious associations. So while ‘All this And Heaven Too,’ ‘Whatever Happened to Baby Jane?,’ ‘The Man Who Came to Dinner’ have nothing to do with the films, per se, the titles’ peculiar mid-century cadences retain the DNA of vintage mystique and cinematic narrative. A title like ‘Jezebel’ came to the original film with mythic connotations infused into its phonetic ring-around-the-rosiness. Only one song, ‘Dark Victory,’ (the first I’d written for the project) flirts with film particulars. But it’s born from free-associative rhyme (dark victory spark electricity Clark Gable Clark Kent stabilize patient...) where those particulars slip into the sort of memory dream you might’ have falling asleep to Turner Classic Movies, Robert Osborne gently whispering in your ear.”


KING TOAD (Jamal River) was born and raised in Iowa City, IA. He’s been self-releasing music for the past 15 years, first on the independent Iowa City label Bla/NK, later on his own. He has released seven official albums under the name King Toad, most recently Why Am I So Romantic? His music explores various styles and instrumentation, but generally leans toward keeping things fast, catchy & short. Lyrically the tone is often darker, frequently touching on themes of death, depression and mental illness. He was a songwriter & multi-instrumentalist for THE MICHAEL TABORS in ‘04 and ‘05, and has produced one album and several live recordings for monster-rock group FURIOUS SKINNY.

“My approach to writing the Bette Davis songs was different for each track. ‘Of Human Bondage’ came first; told from the perspective of the film’s protagonist, some of the lyrics came directly from movie dialog while others were simply inspired by the overall sense of hopelessness and despair the film manages to conjure. For ‘The Letter’ I wanted to talk about the controversies surrounding the film as much as the film itself. Specifically the fact that the Production Code Administration wouldn’t allow the 1940 version of ‘The Letter’ to be completed until the script was altered so that Davis’ murderous, adulterous character dies at the end, thereby satisfying The Administration’s call for Old Testament justice in the film & entertainment industry. Both ‘Of Human Bondage’ and ‘The Letter’ are based on the works of W. Somerset Maugham, & I was happy to be able to write songs for the pair. ‘Parachute Jumper’ (one of Davis’ least favorites of her films) is here translated into a fairly straight forward, pop-song synopsis of the movie’s narrative. ‘Hush...Hush, Sweet Charlotte’ was the last song I wrote for the project and is told from the perspective of a non-specified observer, trying to give comfort and support to poor Charlotte in her time of distress.”

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released May 26, 2011

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Jeff Mellin Philadelphia, Pennsylvania

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