Pretty much all the information I’m using here comes from the liner notes of the one CD currently in print from a legitimate source of Ellis’ work, and that CD also has a problem which will affect this episode. I suspect the latter date is more accurate, and that she trimmed a few years off her age when she became a star. Some sources have her being born in 1941, while others place her birth much further back, in 1929. The information that is out there is contradictory as well. Normally, with someone who had a couple of major hits in the mid-sixties, there’s at least a couple of fan pages out there, but other than a more-perfunctory-than-usual page on Spectropop, there’s basically nothing about Shirley Ellis, possibly because unlike most of her contemporaries, even though she lived until 2005 she never hit the nostalgia circuit. When I say there’s almost no available information about Shirley Ellis, I mean it. We’re going to look at Shirley Ellis, and at “The Name Game”: Today we’re going to take a look at someone who had two big hits, one of which has entered into American pop culture to a ludicrous extent - long before I ever heard the song I was familiar with references to it in everything from the Simpsons to Stephen King books - and the other of which is known all over the world, but about whom there’s almost no available information, outside the liner notes to one CD.
The cave chords plus#
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The cave chords archive#
These are short, ten- to twenty-minute bonus podcasts which get posted to Patreon for my paying backers every time I post a new main episode - there are well over a hundred of these in the archive now. Every day this week, I’ll be posting old Patreon bonus episodes of the podcast which will have this short intro. This episode is part of Pledge Week 2022. The American publication of the same book contains a foreword by a different author.Download file | Play in new window | Recorded on July 12, 2022 A collectors' limited edition of the book appeared in 2007.Ĭave wrote the foreword to a Canongate publication of the Gospel according to Mark, published in the UK in 1998. "Swampland", from Mutiny, in particular, uses the same linguistic stylings ('mah' for 'my', for instance) and some of the same themes (the narrator being haunted by the memory of a girl called Lucy, being hunted like an animal, approaching death and execution). Significant crossover is evident between the themes in the book and the lyrics Cave wrote in the late stages of the Birthday Party and the early stage of his solo career. While he was based in West Berlin, Cave started working on what was to become his debut novel, And the Ass Saw the Angel (1989). It is a collection of lyrics and plays, including collaborations with American enfant terrible Lydia Lunch. He currently lives in Brighton & Hove in England.Ĭave released his first book King Ink, in 1988. His music is characterised by intensity, high energy and a wide variety of influences. He has a reputation, which he disowns, for singing dark, brooding songs which some listeners regard as depressing. He is best known for his work in the rock band Nick Cave and the Bad Seeds, and his fascination with American music and its roots. His music is characterised by intensity, high ener Nicholas Edward Cave is an Australian musician, songwriter, author, screenwriter, and occasional actor.
Nicholas Edward Cave is an Australian musician, songwriter, author, screenwriter, and occasional actor.
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