Teh Squeaky Wheel
Happy Cat Swirly Saturday, Wheelizens!
And Happy Birfday 2/7 to Jerry!!1! (Who was not actually threatened by SackO’SugarK; I merely asked her to relay via FB -- which I am not on -- my wishes that Jerry would stop by here every once on a while.)
Further, I may have alluded to fart jokes as an inducement for Jerry; therefore:
Q: Why don’t farts graduate from high school?
A: They’re usually expelled.
Q: What do you call someone who never farts in public?
A: A private tutor.
Happy birthday, Jerry!
Happy Saturday, GN! Hope it is warming up down south and and east coast.
Don’t know why, but this song has been bouncing around in my head:
And a very much underappreciated song from Motorhead:
Wow! I don’t think I’ve ever heard that one. Very powerful!
Happy Caturday, Gerbil Nation!
Good morning, Fatwa, and Sven!
Happy birthday, 2 of 7, Jerry! May this be a melodious week, IYKWIMAITTYD.
Today we start the process of putting away Christmas. We usually wait until after Epiphany, but tomorrow is too busy.
Hai Sven and Paddy!
It’s a tich warmer here today, but won’t really start getting back to “normal” temps until Monday.
Hadn’t heard “Low Spark…” in years; was a bit of a Traffic fan back in the day. (Had that LP and “John Barleycorn…”)
I’d never heard “1916” before; wow. Not something I’d’ve expected from Motörhead…but then I’m not exactly familiar with their discography.
May this be a melodious week, IYKWIMAITTYD.
May teh ghost of Monsieur Le Pétomane smile upon Teh Squeak.
The other night we were watching one of the last concerts Motorhead did in Munich in 2015 -- probably a couple of months before Lemmy died -- and Mrs Sven (not a fan) was saying how she couldn’t understand the lyrics that Lemmy was belting out. I recommended 1916 as one where he really toned it down and you get a feel for his voice. From Rolling Stone:
“While tender ballads were never exactly Motörhead’s stock in trade, the elegiac title track of their 1991 album still stands as one of the band’s finest works. An ardent student of military history, Lemmy based the lyrics of “1916” on the Battle of the Somme, one of the largest confrontations of World War I, in which over a million men were killed or wounded — many of whom, like the song’s narrator and protagonist, were still in their teens. Lemmy often proclaimed that he was quite proud of this track, and with good reason; his uncharacteristically vulnerable vocal, set against a sparse orchestral backing, lays out the war’s shattering loss of innocence with a brutal frankness. “The day not half over/And 10,000 slain/And now there’s nobody remembers our names/And that’s how it is for a soldier.””