Kingboy, how do you know?

The porpoise is a mighty beast, black and sleek and wild,

I was (as I commonly am) feeling a bit bored at work the other day and decided that the ideal thing I needed to perk me up was to listen to Porpoise Song from the seminal (and only) JAMS collection, History of the JAMS. I mean who wouldn’t be energised by the sound of a dolphin squawking  Billy Jean? So to YouTube I went!

I quickly located the Porpoise Song and whacked it on. It turned out to be nothing like I expected.

This is a common problem when dealing with the KLF. Their general method of music production was to come up with a song, create a dozen different mixes of it, release half of them on severely limited run vinyl, chop the rest up into samples and build new tracks out of them, release those on various different albums and call all of them by the same name! This means that when you get your hands on a K Foundation track you never quite know if it’s the one you expect.

This was not the one I expected, but it was still awesome – as is to be expected from  anything by the Timelords.

After listening to Kingboy D’s tale of the high seas six or seven times I decided I’d actually like to know what he was carrying on about and did a search for the lyrics. I found them, and discovered that – as is so often the case – the only ones available online were severely deficient. So, I decided the only thing to do was transcribe them myself.

This was no easy task. Sound effects of crashing waves and stormy seas combined with Bill’s thick Clydeside accent make parts of the track almost completely incomprehensible. But I’ve done my best. Parts that I’m not sure of are indicated in square brackets – some of which contain absolute gibberish, but it’s at least gibberish that sounds like whatever he’s rapping. So, enjoy!

(2015 Edit: Thanks to BeeblePete for his suggestions which have been incorporated below)

PORPOISE SONG
The Justified Ancients of Mu Mu

Kingboy Kingboy,
Kingboy, what’s it all about?
You talk in riddles, talk in rhyme,
Make no sense to the dumb and blind,
When you gonna learn?
That it’s time to go?

For fourteen days and fourteen nights we’d trawl those northern seas,
Six of us and a [galley pot and night in front of us],
I was just nineteen, a boy aboard, Jack London was my stuff,
The rest of the crew were all bucky men but the skipper was named MacDuff,

In the cold and wet, the dark and rough, the work was never done,
For every four hours the chain bell rang with another catch to run,
Then knee deep in fish that were gasping their last and us with our blades in hand,
We’d slit their throats and clean their guts and laugh at those on land,

One night alone and up on deck beyond Bill Bailey’s Bank,
Just me, my soul and the roar of the [scuds] and the swirling black below,
Wet with spray and numb with cold and fresh bile in my throat,
I was counting the hours back to Peterhead and the youth years lost afloat,

The draw of the deep has a mighty strong arm and me, I was playing to win,
As we wrestled there on the starboard [side my soul was relieved from sin],
And through the chunder of diesel power and crumbling cliffs of [search],
I heard a cry and a sweet lament, a clarion call so strange,

Kingboy, Kingboy,
Kingboy, what’s it all about?
You talk in riddles, talk in rhyme,
Make no sense to the dumb and blind
When you gonna learn?
That it’s time to go?
It’s time to go,
It’s time to go,

The porpoise is a mighty beast, black and sleek and wild,
And there that night I chanced to meet far from the banks of the Clyde,
And this is what he sang to me as he leapt from wave to wave,
“Claim your crown and join the JAMs the world is there to save”,

Kingboy, Kingboy,
Kingboy, what’s it all about?
(Yeah, sometimes I know, it’s all so clear…)
You talk in riddles, talk in rhyme,
Make no sense to the dumb and blind
When you gonna learn?
That it’s time to go?
(Go? Where?)
It’s time to go,
(I’m already there…)
It’s time to go,

So here we are at the end of the year like monkeys to perform!
With an neat scratch here and a sample there and a [stand] to match your rhyme,
The twists and turns and [choice] of fate has left us what we are,
Well I’m a king! I’ve made my choice! Now let’s get tae the bar!

Kingboy, Kingboy,
Kingboy, what’s it all about?
You talk in riddles, talk in rhyme,
Make no sense to the dumb and blind,
When you gonna learn?
That it’s time to go?
(Are you takin’ me?)
It’s time to go,
It’s time to go,

Kingboy, Kingboy,
Kingboy, what’s it all about?
Kingboy, Kingboy,
Kingboy, what’s it all about?
Kingboy, Kingboy,
Kingboy, what’s it all about?
Kingboy, Kingboy,
Kingboy, how do you know?

Interesting footnote: Whereas the English pronounce “porpoise” and “tortoise” as “por-poys” and “tor-toys” we Australians say “por-pus” and “tor-tus”. Hmmmm.

Midnight Lullaby

Robert Smith’s unexpected vocal clone

On the radio this morning there was a discussion about people suffering from musical confusion – you know, when you think a song is by one artist and it turns out to be by another? One of the stories that came up was from someone who went to a party where everyone except him insisted that Come on Eileen was by…. wait for it… The Cure.

THE CURE!!!

This was so gobsmackingly ridiculous that I couldn’t believe it. I mean can you imagine Robert Smith, in dungarees, strutting along singing Eileen! Too-ra-taloo-ri-ay! ? But then they played a bit of it, and blow me down if the lead singer of Dexys Midnight Runners (a certain Kevin Rowland, Wikipedia informs me) doesn’t sound exactly like Robert Smith!

Have a listen for yourself, it’s freaking uncanny!

If your main exposure to the Cure was Friday I’m in Love then it’s probably not such a stretch to attribute Eileen to them as well.

You learn something every day!

11/11/11

It occurred to me late last night that Plastic Bertrand’s Ca Plane Pour Moi and Sigue Sigue Sputnik’s Love Missile F1-11 share the same beat and chord progression (or at least the same something, I’m no musician…). This means that you could make an awesome mashup!

Think about it!

US bombs cruising overhead!
There’s goes my love rocket red!
Multi-millions still unfed!
Psycho maniac interbred!
(Wooo-oo-oo-ooo!)
Now shoot it up!

Shoot it up!
Shoot it up!
Shoot it up up up up up up!
Now shoot it up!
(Wooo-oo-oo-ooo!)
Shoot it up!

Yeah, I’ll shut up now 🙂

PS: Boo yah! Plain Packaging legislation has passed. Take that Tobacco industry!

Oh He’s Angry

Walk across my swimming pool!

For those who don’t read the comments, here’s Angry Anderson’s version of King Herod’s Song from the 1992 Australian touring production of Jesus Christ Superstar. It’s pretty damn good.

I’ve always thought the most impressive thing about Superstar is the way that it excludes miracles without precluding them. If you want to view it as the story of Jesus, the Son of God, you can. On the other hand if you want to view it as the story of Jesus – a guy who believes he’s the Son of God, you can do that too. Which means you can enjoy the work as religious – if you swing that way – or simply as a damn good story with some damn good music. A very smart way to do it and which probably accounts for the show’s enduring popularity (compare Godspell, which comes across as intensely preachy by comparison and is nowhere near as popular).

They’re Watching Meeeee!!

You make me walk like a camel!

When everyone else in the office visits Dilbert, they get ads for BankWest. I get want ads from the DSD. Hmmmm.

In other news, I’ve been indulging my fondness for Psychobilly lately. There’s something about wild-eyed maniacs screeching nonsensical lyrics over distorted, old-fashioned rock-n-roll/surf-rock baselines that really speaks to me on a fundamental level.

I mean, how good is this?

Good times man! Good times!

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