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1. The Wendy James

The Wendy James

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2. "YOU'RE A DIRTBOMB, LESTER" ALBUM: 'THE PRICE OF THE TICKET'

YOU'RE A DIRTBOMB, LESTER I wrote this song with a particular period of my life in mind when I lived at the Gramercy Hotel in New York City for a few months, back when the Gramercy Hotel was still a dive, a bolt-hole for miscreants, bums and Rock n Roll musicians. I had all that wanderlust pumping in my blood for the spirit of Max's Kansas City, Andy Warhol and Edie Sedgwick, Lou Reed, The Velvet Underground, Iggy Pop, Drag Queens and Misfits, The New York Underground. Further downtown and later in time, New York Dolls, Suicide, Ramones, Patti Smith and Lenny Kaye, The Patti Smith Group, CBGB, Richard Hell, The Voidoids, Tom Verlaine, Television, Talking Heads and even further back in time and across Washington Square Park, the beats, the folk revolution and Bob Dylan. I came to New York City for the release of Transvision Vamp's first album 'Pop Art'. The members, still living, of Andy Warhols' Factory Scene threw me a party: Danny Fields, Sylvia Miles, Paul Morrissey. We talked about Edie Sedgwick. It was a world I'd grown up with listening to the music and looking at photos in music papers, this whole scene in New York City and now I was here, at dinner with Andy Warhol's Factory. So much a part of me is West London and so much a part of me is New York City and that is how my music sounds, Detroit and Ann Arbor too - The Stooges, MC5 and Sonic's Rendezvous Band. Rock n Roll journalist Lester Bangs was in my head as I walked the streets thinking if I'd just been born earlier, early enough in time to make it over for the 60's or even the 70's. Lester's critiques for Creem Magazine 'Psychotic Reactions and Carburetor Dung' was in my luggage and I felt I was 'Lewis and Clark' hungry for the whole New World of Alternative U.S.A. I moved into the Gramercy Hotel and lived there for three months, it was dirty, dangerous, subversive, glamourous, thrilling, heaven. After those three months I returned to London but Manhattan had gotten into my blood, musically and culturally there was something that just fitted with me. As I progressed so my music became more and more informed by my feeling of downtown New York City and I knew one day I'd be back to live here, and now I do. I had started writing 'You're A Dirtbomb, Lester' with The Stooges guitarist Ron Asheton in mind and The Velvet Underground's guitar sound and feedback. Lyrics centering on my time living in the Gramercy Hotel naturally the music started sounding like The Bowery, like Downtown NYC, the East Village: aggressive, volatile, non-compromising and sexy. It is a love song for a spirit which is pure in it's intention, the desire, when you're young and fearless, to claim oneself and make a mark on the world. In the third verse I move toward a more philosophical understanding that this spirit has always and will always be renewed and reborn each generation. I am a history nut in my reading habits and Mark Twain is one of my favorite writers, so it came as a wonderful surprise (and no surprise at all) when I found out he had lived, for a while, just doors from where I live now in Greenwich Village. I appreciate that one gravitates toward one's attraction whatever age you are born into. So! A while back I was invited to an evening on The Bowery by Chris Frantz from Talking Heads who was curating a one-night show celebrating the Village Voice/Vanity Fair writer James Wolcott. After the presentation and talk James Wolcott was asked a question from the audience about Lester Bangs and he replied "Lester was a real dirtbomb". Perfect! I had my title! The lyrical drive of my song was running around New York City with Lester's book in my bag and here I was with Chris Frantz and Tina Weymouth listening to stories about downtown New York and Lester Bangs. To add more timeline serendipity to the whole story, my guitar player on this album is Lenny Kaye who is part of that group of artists and musicians that made me fall in love with New York City in the first place. The song is very 'New Wave' in structure, it breaks down into three parts: soft, medium, loud and with a sweet refrain twice breaking up the sound and delivering the song title: only then do I add a little twinkling piano. Glen Matlock on heavy, pounding bass, Lenny Kaye and myself on dry, aggressive New Wave rhythm guitar, Lenny on high, wild, lead guitar and feedback and James Sclavunos on manic, tight, aggressive drums. 'You're A Dirtbomb, Lester' is one of my favorite songs on the album, it's just got something about it… that spirit… Wendy James - Vocals/Rhythm Guitar/Piano & Keys Lenny Kaye - Rhythm and Lead Guitar Glen Matlock - Bass Guitar James Sclavunos - Drums LYRICS: I was lying on my bed I just lay there With New Wave rockers and Graffiti And music and kicks in Gramercy It was a scene, those endless nights I traced my melancholy I saw it was a trap I just wanted to play music It was a magic thing, that thrill that I got I was very happy True love and anguish I don't know quite what it is He said "Darlin', I just don't get ya" I said "You're a Dirtbomb, Lester" That love was there When the foundations of Rome were laid When Christ was crucified When the Conquerer created the British Isles When Columbus sailed When the massacre at Lexington was news (Credit M. Twain) True love and anguish I don't know quite what it is He said "Darlin', I just don't get ya" I said "You're a Dirtbomb, Lester" Copyright Wendy James 2014

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3. "BAD INTENTIONS AND A BIT OF CRUELTY" ALBUM: 'THE PRICE OF THE TICKET'

BAD INTENTIONS AND A BIT OF CRUELTY Opens, no fade, pans hard left/right. A torrential flooding downpour of hard mean biting rain and oppressive heavy thunderclouds hanging low in the pitch dark humid night sky over a centuries old New Orleans graveyard… "I'm glad Of the rain And the storm And the hail It's a dark dark night for the soul…" Lichen covered and eroded Statues and Gargoyles of Devil Angels stand ambivalently in the rain guarding over their protectorates, the long since deceased in their graves, crypts, mausoleums and sarcophagus. A graveyard isn't just a place for burying the dead, it's a place for devout wishes and unholy answers on a wild dark night, a place for two bodies to lay down on the cold hard stone and surrender to the carnal and the primal and the everlasting… "When I come Heavy breathing Woe befall Various misfortune Upon the pinched, scrawny faces of the pious" Sex, Power, Sedition, Bondage, Fetish, Amphetamines, Amyl, chiseled porcelain-high cheekbones, Roman noses, proud and upturned supercilious jutting jaw-lines, long smooth limbs entwined with glistening beads of perspiration on rolls of unclaimed flesh. Charlotte Rampling by Helmut Newton stretched naked in an ornate entry hall staring desirous back at the camera, Robert Johnson at the Crossroads, Nelson Algren 'A Walk On The Wild Side', 'Angel Heart' and Screamin' Jay Hawkins… "Gonna mess you up Gonna use you up Gonna give me what I want Get on you motherfucker Make you feel me forever In places I only know" Somewhere across town, a woman is rouging her lips, straightening the seams on her sheer-stocking legs, smoothing down her split-high knee length black linen skirt, tying the bow around the neck of her pale pink chiffon blouse loosely covering her black lace three quarter brassiere. She loads her small-carry pistol: 3 bullets, two for the head, one for the heart, spins the barrel shut and places it in her purse… "A tear falls from my cheek But there's a twinkle in my eye You come find me Have ourselves a pretty little time You wanna taste me honey? Or you wanna fight? You come crawling Cross this hooligan night" She pulls on a cigarette leaving the butt in the ashtray, checks herself in the fake-deco mirror hanging there, looks for a second, no expression, leans over the back of the faded pistachio green velour sofa to the grey/brown smoke-glass side-table and places the needle of her RCA Victor High Fidelity Total Sound record player onto the vinyl of 'Down On The Street' by The Stooges, listens, takes a quick shot of bourbon from the cut glass tumbler next to the record player on the side-table, picks up her single-breasted 'London Fog' cream colored raincoat and her second-hand brown crocodile-skin purse with gold/brass fixtures, the small-carry Colt Hammerless pistol inside, and exits… "I'm glad Of the rain And the storm And the hail" Outside washes the stinking putrid garbage of animal bones and flesh and rotten side-dishes turned out from the backs of restaurants along the gutters and into the storm covers, the drains, down into the shit-flow beneath the streets. A couple of people scatter from one store front to the next, sheltering at intervals from the violent night storm. A taxi-cab cruises a light looking for a pick-up… There's nothing happening out here tonight, tonight it's all behind closed doors and entryways. The woman makes toward the graveyard, her raincoat pulled over her head, purse clutched under her arm under her raincoat, as she passes hurriedly and unnoticed through the wrought iron gates of Lafayette she murmurs to herself "Let's talk of graves, of worms, and epitaphs; Write sorrow on the bosom of the earth". She easily finds her way through the avenues of the dead until she reaches the place. Taking shelter under the stone archway with it's guide plan for tourists and mourners she watches and listens out into the shadows for sign of approach… "Bad Intentions and a Bit of Cruelty" Wendy James - Vocals/Rhythm Guitar/Piano & Keys Lenny Kaye - Rhythm and Lead Guitar Glen Matlock - Bass Guitar James Sclavunos - Drums LYRICS: I'm glad Of the rain And the storm And the hail It's a dark dark night for the soul Bad Intentions and a Bit of Cruelty When I come Heavy breathing Woe befall Various misfortune 'Pon the pinched, scrawny faces of the pious Bad Intentions and a Bit of Cruelty Gonna mess you up Gonna use you up Gonna give me what I want Get on you motherfucker Make you feel me forever In places I only know A tear falls from my cheek But there's a twinkle in my eye You come find me Have ourselves a pretty little time You wanna taste me honey? Or you wanna fight? You come crawling Cross this hooligan night Bad Intentions and a Bit of Cruelty I'm glad Of the rain And the storm And the hail Copyright Wendy James 2014

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4. "IT'S ALRIGHT MA" ALBUM: 'THE PRICE OF THE TICKET' - VINYL BONUS TRACK

IT'S ALRIGHT MA Cover version of Bob Dylan 'It's Alright Ma (I'm Only Bleeding)'. Recorded by Wendy James, James Williamson, Steve Mackay and James Sclavunos. Bonus track on Vinyl 'THE PRICE OF THE TICKET'.

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5. "INDIGENT BLUES" ALBUM: 'THE PRICE OF THE TICKET'

INDIGENT BLUES Define 'INDIGENT': Lacking food, clothing, and other necessities of life because of poverty: Needy; Poor; Impoverished. Ok. I think this is the most English song on my new album. Perfect Sixties English pop and politics and culture comes out. Where to begin? 'Georgy Girl' (1966) the movie and the theme song. 'Indigent Blues' evokes both. The movie with Charlotte Rampling, Lynn Redgrave, Alan Bates and James Mason, director: Silvio Narizzano. The Swinging Sixties in England, sure, but quite conservative, the realities of a changing youth, a new generation in an old and entrenched society. The Summer of Love and Carnaby Street haven't quite made a mark on miles of undisturbed leafy streets. Unmarried pregnancy, a guilt and need to conform and a desire and struggle to not conform. The Establishment versus The New. It's 60's social melodrama. Musically 'The Seekers' theme song for the movie 'Georgy Girl' has some similar spirit to my song (my mind also wanders to Mary Tyler Moore throwing her beret in the air during the theme song and titles of her Mary Tyler Moore show in America with the lyrics "You're going to make it after all"). Ken Loach's movie 'Poor Cow' with Terry Stamp and Carol White (1967) another stream of consciousness for this song. In 50's England 'Kitchen Sink Dramas' or 'Kitchen Sink Realism' were a form of left thinking, social minded uprising and expression penned by the 'Angry Young Men' - John Osborne ('Look Back In Anger', 'The Entertainer'), Harold Pinter ('The Homecoming', 'The Birthday Party'), Kingsley Amis ('Lucky Jim') to name but three, and the one woman stand-out in this all male crowd was Shelagh Delaney who's debut work 'A Taste Of Honey' I studied at school. Groundbreaking when first performed in 1958 and still to this day covering topics that can cause discomfort: Race, out-of-wedlock Pregnancy, Homosexuality, Class, Poverty. All this inherent knowledge I have from growing up reading and living these authors and watching the movie adaptations, plus my natural leaning toward a more left, inclusive and just society. The Rolling Stones 'Factory Girl' and 'Salt Of The Earth' - not that 'Indigent Blues' sounds particularly like either of those songs but it's drawing on the same background, the same context. My lyrics are somewhat reflective of a battle hard fought in the music business to stick to my course, to remain true to myself and not get whittled away by too many knocks. I am being quite horrible while I sing so sweetly! I'm resolving to see off anyone that thinks they can get the better of me, I'm stating, warning 'don't mess with me, if you come up against me and are foolish enough to take me on, you will lose and I will win'. I especially enjoy the words I sing over the end solo, quite nasty really. I like a nasty lyric sung in a beguiling way, Bob Dylan does this very well. He delivers some real knock-out punches, some real put-downs, in such a melodic and soothing way! Much more dangerous this approach, you don't even feel the knife going in it's so sharp and well aimed. So this is the thought process and imagination and inspiration behind the song: rebellion in the face of, and despite, mediocrity and social mores. Rudyard Kipling's poem 'IF', Alan Price's amazing song 'O Lucky Man' from another agitprop movie, eponymously titled, starring Malcom McDowell and directed by Lindsay Anderson (who also directed the socially earthquaking movie 'IF'!). The Kinks 'Strangers' - perfect English Pop containing within it the means to piece by piece dismantle a seemingly impenetrable society. L.S. Lowry's paintings of scenes of the North of England (Shelagh Delaney again.) You can't stop progress, ever. As ugly as the journey sometimes gets, society will change and evolve and to be on the wrong side of history is to be extinct. Played by myself, Lenny Kaye, Glen Matlock and James Sclavunos - what can I say? There was never any need to explain or conjure up my thought process for them, they just knew. The chords and the words took them immediately to the right place. Lenny's melody lines in the verses and his guitar solo in the middle and end are dreamy and heaven and just flowed out of him. It's a real quest, an equation, forming a line-up that fits together musicians who are instinctive toward the music and to each other, it's more than half the sum of a successfully recorded album and Lenny, Glen and Jim naturally responded to each song with playing that sounded exactly like the feeling and purpose of my lyrics and singing. Jim's drumming seems to me 'Sunny Afternoon' in all it's glory, skipping along, going up, going down, bringing out the meaning of it all and listen to Glen's bass-line! It's so melodic, it dances the song along, never getting caught up in any undertow, always looking straight ahead, eyes on the prize (just like the characters in all the literary work I mentioned). As for me, I'm happily playing rhythm guitar, enjoying the chord changes and a little stabbing upright piano too - got to make sure my West London Notting Hill is in there! It all comes from the same place… I harmonize to myself in the chorus's and it works out just as it should. To misquote Alan Price: 'O Lucky Me'! Wendy James - Vocals/Rhythm Guitar/Piano & Keys Lenny Kaye - Rhythm and Lead Guitar Glen Matlock - Bass Guitar James Sclavunos - Drums LYRICS: I play a liquid guitar I'm a stone hustler It's the meanest game in town I scare myself sometimes But I feel like a million Don't you know it, even yet? I got tired of whipping you Year after year Show em how, show em how, show em how Don't be so mean Come on now, come on now, come on now I'm coming through I'm going to finish you Before I'm through with you I'm just beginning You're gonna to get it baby I looked at you tonight And you weren't there I always heard you thought you could dance Now it looks like you think you can sing too Show em how, show em how, show em how Don't be so mean Come on now, come on now, come on now I'm coming through I've seen some dummies In my time But you're in a class by yourself Trying to use me But what's a little pain to a lucky man? I have to think You sweat and dream and dig and look: 'Indigent Blues' Show em how, show em how, show em how Don't be so mean Come on now, come on now, come on now I'm coming through You're the horse that finished last Now don't make trouble Keep your weepy bullshit to yourself I've been cheated and beaten and duped for 20 straight years I can't help being cruel Indigent Blues Indigent Blues Indigent Blues Copyright Wendy James 2014

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6. "SCHNEIDER'S RIDE" ONE OFF TRACK RECORDED IN TOKYO (FREE DOWNLOAD)

SCHNEIDER'S RIDE This song was caused by my reading Michael Herr's seminal journalistic reporting on the Vietnam War in his book 'Dispatches'. Throughout his embedding with different troops in the war he reported back many Dispatches and this particular tale is from a company and a soldier in that company called Schneider, who with a battered up old bicycle dared to ride down the one hill they were stationed on, into enemy territory and up to the safe ground of the opposing hill. The tale was known as Schneider's Ride. By this time in my reading of the book I had become so sympathetic to and emotional about the desolation the soldiers felt in their daily lives of either high adrenalin, combat and possible death versus the ennui, the days of listless nothingness, waiting for their next battle orders. All set against a general undercurrent of not really being 'OK' with what their mission was in the first place… to kill strangers in a strange land and for what? They were dying plenty, and the North Vietnamese were being decimated. A lot of blood on everyone's hands. Alongside all the real politik of the situation was of course the dark humor and camaraderie that the soldiers naturally embodied and needed for their own mental well being. Schneider's Ride would be a terrific ride anywhere it might happen… a dare, a schoolboy prank, the kind of thing that causes a thrill in any environment, but starkly happening in the real jungle with the real threat of death makes it all the more dynamic and scary and gratifying when it is completed without injury or disaster! I wrote the song quickly, it was heartfelt and immediate. Some weeks later I was scheduled for a trip to Tokyo and during this 10 day stay it so happened that the Japanese rock star Hotei Tomoyasu (Kill Bill) offered his private recording studio to be at my disposal and indeed he would overdub anything I needed. So the delicate touch of bass and guitar are added by Hotei Tomoyasu. This song had not been mastered until now, but while my mastering engineer Fred Kevorkian was doing his work on my upcoming new album 'The Price Of The Ticket', I added 'Schneider's Ride' into the lot for him to take care of. The song remains very touching and beautiful and timeless I think and testament to the courage people find within themselves and extend to each other, the generosity and humanism too, when under extreme, unjust and brutal circumstances. Copyright Wendy James 2014

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7. Rexico - Wendy James

  • Published: 2015-09-04T06:23:09Z
  • By rexdakota
Rexico - Wendy James

This track is from the album High Classic and is available for purchase on CD Baby here: http://www.cdbaby.com/cd/rexico3

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8. "FAREWELL TO LOVE" ALBUM: 'THE PRICE OF THE TICKET'

FAREWELL TO LOVE I'm a harmony and backing vocal girl. I love harmonies and backing vocals and I love when my voice sings to my voice: the texture blends and becomes very full, very pure. Whether it's Bacharach and David (all their wonderful songs with Dionne Warwick) especially so their original soundtrack for the movie 'Butch Cassidy and the Sundance Kid', in particular 'South American Getaway' or Keith Richards in his song 'All About You' on The Rolling Stones album 'Emotional Rescue' and my song 'Farewell To Love', the harmonies evoke June Carter Cash and The Carter Family, Loretta Lynn, and Patsy Cline. There are so many different kinds of harmonies! There are Motown harmonies (think Martha & the Vandellas 'Jimmy Mack') Soul Harmonies (think The Five Stairsteps 'Ooh Child'), Northern Soul Harmonies (think The Orchids 'Gonna Make Him Mine'), Funk Harmonies (think George Clinton's Parliament 'We Got The Funk'), Rock n Roll Harmonies (think The Rolling Stones 'Happy'), Gospel Harmonies (think Sister Rosetta Tharpe 'Up Above My Head'), Blues Harmonies, Be-Bop Harmonies, Dixieland Big Band Harmonies, Pop Harmonies, think of the Beach Boys! think of the Mamas and Papas! I could go on for days! Transvision Vamp's super-hit 'Baby, I Don't Care' is a home-run because of the harmonies and backing vocals! (and the infamous guitar riff). All these different styles of singing and writing have a slightly different choice of harmony note, you can go up a third, a fifth, an octave or a semi-tone, a seventh, and then there are always the divine Country Music Harmonies sung in the bitter-sweet voice of a strong women who's been done wrong! On 'Farewell To Love' my singing is one lead, one harmony. It's all melody and only needed one light and sincere and simple touch, the harmony weaving in and out of the lead vocal, sometimes meeting it in unison and then diverting off into it's own beautiful thing. More often than not (other songs on my new album 'The Price Of The Ticket' or 'King Hoodlum' from my last album 'I Came Here to Blow Minds'), I will sing 4 or 5 parts and double up each of them, the Phil Spector approach, a bona-fide wall of sound. It's one of my favorite times in the whole process of recording an album, putting the harmonies and backing vocals on. Sometimes I'll have the idea in my head already, from weeks of playing the song at home before recording, the lines will just naturally suggest themselves to me, so much so that I'll start singing harmony lines in place of the original lead! or in the studio I'll sing shotgun, go to the microphone, run the song down, see what happens… and oh when you hit the sweet spot, it is Eureka! The rhythm guitar I play is a little light skip reggae style. I wrote the song traditionally strumming out a cowboy rhythm but I started to feel, anticipated, that by the time Jim and Glen and Lenny played their parts my guitar would be taking up too much constant space sonically, I needed to free up some silence for them. I played around with it and found that an easy little reggae skip did just this, even improved it, moved the rhythm along. When I was recording I kept the first verse really simple (a down hit and up), on the second verse a little more elaborate and on the third verse a combination, skipping, really letting my body flow into the song and feel the impulse. I can hear this song being played as a shanty spiritual in Kingston, Jamaica as well as at The Grand Ole Opry, Nashville, Tennessee! Meanwhile, Glen said it reminded him of a Beatles song! (which one I cannot remember, but the melody and the harmony suggested The Beatles to him, so I guess we all carry our own set of musical references, which suits me fine!) Lenny Kaye plays the most wonderful (chorus echo) guitar melody in answer to my rhythm guitar, weaving in and out with simplicity and precision, he has the perfect touch. I've mixed Glen Matlock's bass up loud on this song, it sounds like he's in his own skin, so easy, so effortless, it sounds like he's enjoying every note! I watched him across the live room as we tracked it and he was just bobbing along, eyes closed, really in a good place! James Sclavunos drumming, as always, he conducts us and makes the song groove and soar high. I overdubbed a delicate Wurlitzer piano part echoing Lenny's guitar melody line. That's all it is, it doesn't need a single thing more. Lyrically it's "get-out-of-town!". The waste of time listening to someone go round in circles under the impression they're saying something different to every time they've said the same thing before. When it's done, it's done and you can't buy back character at the end. Wendy James - Vocals/Rhythm Guitar/Piano & Keys Lenny Kaye - Rhythm and Lead Guitar Glen Matlock - Bass Guitar James Sclavunos - Drums LYRICS: Take your belongings And get out before dark I guess you can't help Being what you are You just hang on To what you got But you can say Farewell To Love You came here For absolution You'd like to be set free For what you've done You think punishment Will set you free That's why you've come Farewell To Love Good Luck, Fool Nothing's true In your cock-eyed world You can't buy back your life when it's finished You wanna know something honey I'm gonna busy myself elsewhere When you're belly-empty, hollow-hungry Don't come see me all dreamy with temperature Ain't no in-between Listenin' to you come clean That time is done Farewell To Love Copyright Wendy James 2014

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9. "KING RAT" ALBUM: 'THE PRICE OF THE TICKET'

KING RAT - is what Keith Richards called Brian Jones… I'm always drawn to turns of phrases and names that make movies in my head, a place and a time, a feel, a look, an accent, a lingo… In this case KING RAT suggested to me Film Noir. Hard-boiled, wrong-side-of-the-tracks, shady Cops and Criminals and down-on-their-luck Dames with hearts of gold. KING RAT brought all that imagery to my mind. I often go to matinees at the Film Forum here in NYC to watch marathon runs of Noir movies like 'Night and the City', 'The Sweet Smell of Success', 'Pick Up on South Street', 'Kiss of Death' and 'The Lost Weekend' to name but a few! That wise-cracking, fast-paced, screwball dialogue that leaves you breathless! I love Barbara Stanwyck in 'Double Indemnity' and I love, love, love her as the mobsters-moll-made-good with Gary Cooper in 'Ball of Fire'! Anyway, the name stuck, I wrote it down, saved it… and then by chance, as is always the way it happens, I came across a movie called 'KING RAT' starring James Fox. Of course I will watch anything James Fox has acted in, he is as bona-fide as they come in Donald Cammell and Nick Roegs' movie 'Performance' and Joseph Losey's 'The Servant' (written by one of the dialogue supremos Harold Pinter). In this instance 'KING RAT' the movie is about a World War II P.O.W. camp in Malaysia… the tag line is this: "A fast-talking wheeler-dealer corporal in a Malaysian POW camp during WWII uses bribery and larceny to take de facto control of the camp from his senior officers". It stars James Fox, Tom Courtney, Denholm Elliot, and George Segal. Fabulous! So, typical to my writing, a phrase or a couple of words or names will set off my imagination and as I constantly compile words and possible lyrics wherever I go, I turn to my pile of paper scraps and my laptop and see what I've stored up along the way and I just kind of write the story out in a non-stop flow, the pictures and imagery are so clear in my head that I can write my own little five-minute movie… Then I edit down! that's important… no fillers, no flimflam! I'd been listening to a lot of Howlin' Wolf and I wanted to write a whole song on one riff… where the melody and rhythm can change over the top, but you've got a constant riff holding it together… the bare bones… the back-bone… and I wanted the guitar riff to sound like I was broke on cheap liquor and I only had four good strings and they were not necessarily perfectly in tune either! The imagery and my imagination for my words were firmly planted in talkin-out-of-both-sides-of-yer-mouth Film Noir, a world of screwy detectives, low-down-good-for-nothing stoolies, too-good-to-be-true leading men in pomade-stiff short back and sides and wife-beater vests, knife-quick grifters and deadly females! It could be California in the stir-crazy Santa Ana 'devil' winds, could be William Faulkner's deep south 'Barn Burning', could be Jules Dassin's 'Riffifi' in Paris, or Soho in London in 'Night and the City', could be that P.O.W. camp… It's wherever your imagination takes you, but… KING RAT is always there holding the whole crooked, rotten underbelly together! The riff carries the song, I'm playing it on the left side and Lenny Kaye is picking it up on the right, Glen Matlock is pinning us down with his bass and James Sclavunos is keeping us all in check with the snap of his drums. I added some upright piano and some Wurlitzer on overdrive to the riffs, I went as low on the keys as I could go and pounded them out in the freezing cold in the dead of winter in Brooklyn NY, jumping off my seat to hit them as hard as I could, dressed in two overcoats and a woolen hat pulled down over my eyes with my headphones on top to warm my ears and give me the sound, with an old plug-in radiator by my side that did nothing except burn my fingers if I touched it! Lenny's pure sexy playing in the breaks just about bends you over and he adds a sinister twist to the middle eights which were originally inspired by The Rolling Stones 'Emotional Rescue' (and Clarence 'Frogman' Henry 'Ain't Got No Home') - which brings the whole circle of flurry of music and lyrics and imagination back to Keith calling Brian a KING RAT! And that's where my song KING RAT comes from and that's how it sounds! Wendy James - Vocals/Rhythm Guitar/Piano & Keys Lenny Kaye - Rhythm and Lead Guitar Glen Matlock - Bass Guitar James Sclavunos - Drums LYRICS: Cutting into rhythms Playing through the breaks x 2 King Rat Whipped on By brainless freaks x 2 King Rat I could tell ya, but then I'd have to kill ya Kicks and howls Wails and stomps x 2 King Rat Socked him in the jaw Took off x 2 King Rat I could tell ya, but then I'd have to kill ya This good time bad ass fuck around is going outta style Been 17 kinds a' damn fool Played everything off key except that high white note Now they're standing in the gods for you (repeat) No Sir Lovin' husband No Sir Lovin' husband I don't close my eyes Quit Stalling Peek-a-boo shit Quit Stalling Peek-a-boo shit I suspected long ago you learned to live it with it I could tell ya, but then I'd have to kill ya I could tell ya, but then I'd have to kill ya King Rat This good time bad ass fuck around is going outta style Been 17 kinds a' damn fool Played everything off key except that high white note Now they're standing in the gods for you King Rat Copyright Wendy James 2014

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10. "SCREAMIN' BACK WASHINGTON" ALBUM: 'THE PRICE OF THE TICKET'

SCREAMIN' BACK WASHINGTON This song is played by myself and Lenny Kaye. I play rhythm guitar and Lenny plays lead. To try and turn this song into a band arrangement and performance would have been counter-intuitive to the naked feel the song demanded. During the recording of the whole album there were many moments that excited all of us, but none more so for Lenny than the beautiful guitar solo he plays in this song. He came prepared, he had it rehearsed, and when we recorded it was to get the most emotional take, the one with every little intonation and intention expressed. I recorded my rhythm guitar to a click in my headphones, sang silently in my head and did one take top to bottom picking out as many of the individual strings and notes in each chord. My singing was one take also and, just like Lenny's solo, I kept singing it until I had delivered the very most emotional and deliberate performance I had within me. I added a little piano as a light and pretty element in the verses and bridges. This song is as exposed as I have ever have been musically. In the end there was nothing frightening about it, rather, a complete desire to lay myself open. I wrote it on my birthday and it is about my birth mother, as I imagine her. The first thing that ever happened to me in my life was to be given away, not kept. I believe this is the most defining moment of my entire life. I picture for myself a mother who, being young and single, was unable emotionally or socially to keep me. I imagine she thinks of me every time my birthday comes around, I imagine she wonders where or how I am, I imagine she loves me. This song draws on a memory I have. One searing image I have always had, staring up from a cot as a baby and seeing a lady with light brown hair and a peppermint green dress looking down at me. Most of my life I indelibly believed this surely must have been my mother, who, for a few sweet seconds, was looking at me before giving me away. Now I figure more realistically… nurses often wear green uniforms and probably it was a nurse. But still, for the purpose of my emotional life, I always held onto the look of love I saw in that ladies face. It's from that memory that I wrote this song. Imagining how my mother might say her little prayer of good luck to me before she turned and walked away. Of course, singing in the first person, I am expressing myself too, my feelings, through the imagined feelings of my unknown mother. So! The Song! It is just Lenny and me playing and Lenny's solo is so very beautiful, his depth of emotion is expressed so precisely in his choice of notes and the feel he plays them with. Mine is with my voice and the intonation of my rhythm guitar. I think we played the truth. Working with musicians can be a technical high and astounding! In the case of session musicians - just watch the documentary 'The Wrecking Crew'! They (The Wrecking Crew) collectively played on so many of the big hits of the 60's, paid for hire, they knew what they were doing and they delivered! It's dreamy just watching them be so very musical for whatever song they were brought in for. Or… you are in your first band when you're all teenagers and none of you really know what you're doing but that 'all for one and one for all' spirit just makes the most alive and vital sounding first record… or, as in this album, there's an instinct that draws only the very right people into your music and your life. For me, recording this album with Lenny on guitar is the musical answer to the question I've been asking for a good few years now. He suits me, his playing is how I hear it in my head. When he first came to the studio I trusted the situation implicitly. I love the way Lenny plays on his records and in live shows with Patti Smith, I love where he's coming from, his style, his 'guitar personality', he has always felt right to me. When our recording began I sat on the sofa away from the mixing desk and I just let Lenny plug in, find his sounds and play, and I trusted that whatever he felt like playing would be right for me - I was so sure of him! My hopes were surpassed many, many times over! Lenny literally played the melody and rhythms and sounds I was needing to hear and reaching out for. He 'finished the sentence', whatever I had begun with my voice or rhythm guitar, Lenny completed. The same can be said on the rest of the album for Glen's amazing soulful and melodic bass parts and Jim's incredibly exciting drumming style, each song Jim landed on he had absolutely the right feel, down to milliseconds. But this song 'Screamin' Back Washington' is just the two guitars, voice and piano. I must also say kudos to my mix engineer Jesse Nichols! Mixing a song straight down the middle with only four exposed parts can be much more challenging that arranging a whole panoply of sound across a stereo spread. Wendy James - Vocals/Rhythm Guitar/Piano Lenny Kaye - Lead Guitar LYRICS: Poor little thing It's hard to think I'm never going to see you again No angel bothers to lift me From earth I turn towards the bottle Of bourbon So many fine moments lost I know I've got to be a better woman I had ambition I always had ambition To find it is not so hard Still you're the only thing worth my immortality Each time you happen to me all over again I wished you were safe with me and always would be I was upside-down In the depths of myself So many reasons I've forgotten them all I only want to hear about you To know what you've been doing You help me by loving me But to bare it that is nearly impossible Copyright Wendy James 2014

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11. AA - Farewell To Love

AA - Farewell To Love

DOUBLE A SIDE VINYL 7” SINGLE YOU’RE A DIRTBOMB, LESTER + FAREWELL TO LOVE RELEASE DATE 25/11/16 AA SIDE: YOU’RE A DIRTBOMB, LESTER Musicians: Wendy James - Vocals/Rhythm Guitar/Piano & Keys Lenny Kaye - Rhythm and Lead guitar (Patti Smith/Nuggets) Glen Matlock - Bass Guitar (Sex Pistols) James Sclavunos - Drums (Nick Cave and The Bad Seeds) All songs written and composed by Wendy James Produced by Wendy James Mixed by Wendy James and Jesse Nichols at Fantasy Studios, Berkeley, CA. USA Photography - Ricardo Gomes Art direction - Wendy James and Ricardo Gomes Track Time: 6’ 12” 33BPM AA SIDE: FAREWELL TO LOVE Musicians: Wendy James - Vocals/Rhythm Guitar/Piano & Keys Lenny Kaye - Rhythm and Lead guitar (Patti Smith/Nuggets) Glen Matlock - Bass Guitar (Sex Pistols) James Sclavunos - Drums (Nick Cave and The Bad Seeds) All songs written and composed by Wendy James Produced by Wendy James Mixed by Wendy James and Jesse Nichols at Fantasy Studios, Berkeley, CA. USA Photography - Ricardo Gomes Art direction - Wendy James and Ricardo Gomes Track Time: 3’ 16” 45 BPM

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12. AA - You're A Dirtbomb, Lester

AA - You're A Dirtbomb, Lester

DOUBLE A SIDE VINYL 7” SINGLE YOU’RE A DIRTBOMB, LESTER + FAREWELL TO LOVE RELEASE DATE 25/11/16 AA SIDE: YOU’RE A DIRTBOMB, LESTER Musicians: Wendy James - Vocals/Rhythm Guitar/Piano & Keys Lenny Kaye - Rhythm and Lead guitar (Patti Smith/Nuggets) Glen Matlock - Bass Guitar (Sex Pistols) James Sclavunos - Drums (Nick Cave and The Bad Seeds) All songs written and composed by Wendy James Produced by Wendy James Mixed by Wendy James and Jesse Nichols at Fantasy Studios, Berkeley, CA. USA Photography - Ricardo Gomes Art direction - Wendy James and Ricardo Gomes Track Time: 6’ 12” 33BPM AA SIDE: FAREWELL TO LOVE Musicians: Wendy James - Vocals/Rhythm Guitar/Piano & Keys Lenny Kaye - Rhythm and Lead guitar (Patti Smith/Nuggets) Glen Matlock - Bass Guitar (Sex Pistols) James Sclavunos - Drums (Nick Cave and The Bad Seeds) All songs written and composed by Wendy James Produced by Wendy James Mixed by Wendy James and Jesse Nichols at Fantasy Studios, Berkeley, CA. USA Photography - Ricardo Gomes Art direction - Wendy James and Ricardo Gomes Track Time: 3’ 16” 45 BPM

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13. The Price Of The Ticket (Advance Promo)

The Price Of The Ticket (Advance Promo)

THE PRICE OF THE TICKET 1 PALOMA'S DOWNS (5.45) 2 INDIGENT BLUES (3.41) 3 KING RAT (4.56) 4 LOVE FROM THE 9TH (2.45) 5 BAD INTENTIONS AND A BIT OF CRUELTY (3.41) 6 YOU'RE A DIRTBOMB, LESTER (6.38) 7 SCREAMIN' BACK WASHINGTON (3.14) 8 WHY OH WHY DO YOU HURT ME STILL? (1.55) 9 FAREWELL TO LOVE (3.16) 10 COWBOY RHYTHM (5.20) 11 SITUATION NORMAL AT SURFRIDER (7.09) *12 YOU'RE SO GREAT (3.26) **13 IT'S ALRIGHT MA (7.02) Wendy James - Vocals/Rhythm Guitar/Piano & Keys Lenny Kaye - Rhythm & Lead Guitar Glen Matlock - Bass Guitar James Sclavunos - Drums All songs produced by Wendy James All songs mixed by Wendy James and Jesse Nichols All songs written and composed by Wendy James. ℗ and © Wendy James 2014. All rights reserved. Unauthorized Duplication is a violation of all applicable laws. *12 YOU'RE SO GREAT Wendy James - Vocals/Piano & Keys James Williamson - Guitar & Bass James Sclavunos - Drums Produced by Wendy James Mixed by Wendy James and Jesse Nichols *Written by Fred Smith. © 1978 Stratium Music Inc (ASCAP) Used by permission. International Copyright Secured. All rights reserved. **13 IT'S ALRIGHT MA Wendy James - Vocals/Piano & Keys James Williamson - Guitar & Bass Steve Mackay - Baritone Sax James Sclavunos - Drums Produced by Wendy James Mixed by Wendy James and Jesse Nichols **Written by Bob Dylan. Copyright © 1965 by Warner Bros Inc. Renewed 1993 by Special Rider Music. All rights reserved. THANK YOU So important in the making of 'The Price Of The Ticket' is the encouragement, good will and enthusiasm I am lucky enough to receive from friends and fans alike. My female friends who support me with their fire-brand strength and determination. Old friends in London who remain as true to this day as they were when we were running about in Ladbroke Grove, W.10. Newer friends in New York City who make my present day life so full and thrilling and the city the place I call home. My friends in Paris, the love and hospitality you give me is such a large part of my life. All over the world I have some true friends who, whether I see you often or not, I know you are there for me. This is the stuff that keeps everything going. Old band members with whom I share memories and from whom I have learned lessons, you are as responsible for getting me here as anyone else. And Fans - the messages you send me are so sincere and often with such insight, sometimes a day can literally be made good by one message saying my music is playing a part in your life and for me to keep on!

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14. Paloma's Downs

Paloma's Downs

1 PALOMA'S DOWNS Way up high where it's always balmy In the big game with the big players How many drinks does it take you To put you in that tropical island mood? Anyway it don't matter none The next hassle will be the last one Just another low-rent look at 'what's happening' Take the beating and play counter-punch Paloma's Downs Let me see you dance baby, let me see you dance Those knee crawling scumbags "Hey baby doll, can I talk to you a minute…" Beat them to death with their own rules You're hanging on by your nails Flogged for beauty, whipped for truth Last dance in a dumb town Move on Jack, don't block the aisles You can always say for sure you knew what it was like That you once knew what it was like To play rock n roll music, to walk with the king Where the best are screwed for the worst reasons Sing Hallelujah brother! at 10 cents a head It's not what she wanted Can make a person sick and sometimes very mean Paloma's Downs Wendy James - Vocals/Rhythm Guitar/Piano & Keys Lenny Kaye - Rhythm & Lead Guitar Glen Matlock - Bass Guitar James Sclavunos - Drums

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15. Screamin' Back Washington

Screamin' Back Washington

7 SCREAMIN' BACK WASHINGTON Poor little thing It's hard to think I'm never going to see you again No angel bothers to lift me From earth I turn towards the bottle Of bourbon So many fine moments lost I know I've got to be a better woman Poor little thing It's hard to think I'm never going to see you again I had ambition I always had ambition To find it is not so hard Still you're the only thing worth my immortality Each time you happen to me all over again I wished you were safe with me and always would be Poor little thing It's hard to think I'm never going to see you again I was upside-down In the depths of myself So many reasons I've forgotten them all I only want to hear about you To know what you've been doing You help me by loving me But to bare it that is nearly impossible Poor little thing It's hard to think I'm never going to see you again Wendy James - Vocals/Rhythm Guitar/Piano Lenny Kaye - Lead Guitar

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16. Farewell To Love

Farewell To Love

9 FAREWELL TO LOVE Take your belongings And get out before dark I guess you can't help Being what you are You just hang on To what you got But you can say Farewell To Love You came here For absolution You'd like to be set free For what you've done You think punishment Will set you free That's why you've come Farewell To Love Good Luck, Fool Nothing's true In your cock-eyed world You can't buy back your life when it's finished You wanna know something honey I'm gonna busy myself elsewhere When you're belly-empty, hollow-hungry Don't come see me all dreamy with temperature Ain't no in-between Listenin' to you come clean That time is done Farewell To Love Farewell To Love Wendy James - Vocals/Rhythm Guitar/Piano & Keys Lenny Kaye - Rhythm & Lead Guitar Glen Matlock - Bass Guitar James Sclavunos - Drums

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17. I'LL BE HERE WHEN THE MORNING COMES (Guide Recording)ALBUM: QUEEN HIGH STRAIGHT

I'LL BE HERE WHEN THE MORNING COMES (Guide Recording)ALBUM: QUEEN HIGH STRAIGHT

LISTEN TO A GUIDE RECORDING FROM WENDY JAMES NEW ALBUM QUEEN HIGH STRAIGHT Hear track number 17 from Wendy James new LP ‘QUEEN HIGH STRAIGHT’. The song is called ‘I’LL BE HERE WHEN THE MORNING COMES’. This is the guide recording, which consists of Wendy singing and playing her guitar to record the song as a guide for her band to learn in readiness for the full production recording sessions. The song stands up on it’s own and is so beguiling, so charming, one can imagine how it will end up sounding once it’s fully recorded. The announcement of the full line-up for recording is imminent as are the recording dates and visits to the studio. On this song, perhaps a special guest might play a little Ukulele solo? Meantime, pre-order your copy of QUEEN HIGH STRAIGHT here: https://www.pledgemusic.com/projects/thewendyjames And a VISIT TO THE STUDIO to watch a tracking or singing session here: https://www.pledgemusic.com/projects/thewendyjames/items/196937 The album is going to be BANANAS! Enjoy: I’LL BE HERE WHEN THE MORNING COMES I’ll be here when the morning comes To brush all your shadows away I’ll be here when the morning comes To bring you your happiest day In the thin morning sunlight I’ll sing for you Together we will find a world completely new The random years are at an end I seen you stumble, fall back, with nothing left to give I know you’ll find it somewhere When you’ve been hurt You pick yourself up When your heart is beating so fast When your heart is bursting with rage Mind you don’t lose the best part of yourself Did you think I’d just run away as fast as I could Did you think I’d just stay the same? Did you think I understood? I’ll be here when the morning comes To brush all your shadows away I’ll be here when the morning comes To bring you your happiest day All the losses and all the winnings Water under the bridge It’s an honest tale for an honest buck And I know you been hurt… But you still get up I’ll be here when the morning comes I’ll be here when the morning comes I’ll be here when the morning comes I’ll be here when the morning comes All songs written by Wendy James. P and C Wendy James 2018. All rights reserved. Unauthorized Duplication is a violation of all applicable laws.

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18. It's Alright Ma

It's Alright Ma

**13 IT'S ALRIGHT MA Wendy James - Vocals/Piano & Keys James Williamson - Guitar & Bass Steve Mackay - Baritone Sax James Sclavunos - Drums

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