Tag Archive: Mark Lanegan


No tears for Mark Lanegan

SING BACKWARDS AND WEEP by Mark Lanegan (White Rabbit, 2020)

‘Men Should Weep’ was the title of a 1947 play by Ena Lamont Stewart I saw performed in London in 1982 by Glasgow’s 7:84 theatre company (named from the statistical information that 7% of the people own 84% of the wealth).

I liked the title of this play because it conjured up the image of men weeping en masse . I imagined this as a universal shedding of tears for the patriarchal pain men have inflicted on humankind. Some hope!

Sadly, the macho stereotype is still alive, kicking and oppressing as Mark Lanegan’s relentlessly bleak memoir confirms. Despite the title (a line from his song ‘Fix’ from the solo album ‘Field Songs’) , Lanegan is not much given to weeping or displaying his feelings. It’s therefore a surreal moment when he relates how one huge tear formed after hearing of the death of his friend and mentor Jeffrey Lee Pierce of Gun Club. He writes about this with amazement as if it’s going to be submerged in a pool of tears like Alice In Wonderland.

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URBAN BLUES ON A MIDSUMMER NIGHT

THE MARK LANEGAN BAND Live at the Rocca Malastestiana, Cesena, Italy 11th August 2015

Mark Lanegan - not a summery kind of guy.

Mark Lanegan – not a summery kind of guy.

On stage, Mark Lanegan looks and sounds every inch the rock and roll survivor.

This gives added authenticity to his songs about salvation and healing.

For Lanegan’s brand of bleak urban rock, black is the colour, as typified by tunes like The Gravedigger’s Song and Gray Goes Black.

Lanegan stands centre stage like a pugilist, not as someone who is picking a fight but as a man used to standing his ground. Continue reading

THE BLUES HAD A BABY …..

baby rock

A new generation of rock?

Two bands who supported Sigur Rós at A Perfect Day Festival in Verona were prime examples of Rock and Roll as :

(a) an outmoded genre that survives only as a parody of itself.

(b) a vibrant musical force which still has the power to excite and inspire.

In the (a) corner were dEUS, a Belgian Indie band who were almost big in the 1990s and who are still plugging away trying to sound edgy by mixing in some rap and disco into the standard R’n’R formula.

On stage there is plenty of what The Fall’s Mark E Smith witheringly labelled as “false histrionics” and cries of “let’s do this”. Continue reading