And I'm pleased to report that, despite - let's name and shame here - Jim Bliss trying to stuff the ballot box in De Burgh's favour, the poll in the sidebar shows that a clear majority of you agree with me.
So share in the emotional turmoil that has overwhelmed me since I discovered that De Burgh is nice to donkeys. In 1999 he joined a sponsored walk for a donkey sanctuary and played two benefit gigs for them.
Perhaps he's trying to mess with our understanding of moral absolutes, he's trying to soften us up, it's all part of his evil plan to let the lizards catch us unawares.
Don't let the equine cosiness make you drop your guard. He could strike at any time.
3 comments:
I do not hate donkeys. The entire point of my post is that I feel confused at De Burgh and donkeys being together, and so I have clear delineation; donkeys good, De Burgh evil.
If some of Hitler's early paintings weren't too bad it would not excuse a dozen years of Third Reich carnage.
Jools Holland did Up The Junction. He, as you rightly observe, did the genius of the piano solo on Uncertain Smile. He puts together Later, which showcases all manner of great music that would otherwise get no such outlet.
Exactly what new music have you discovered thanks to De Burgh? It's 'none' isn't it Jim?
There certainly is a room on the good side of the fence for 'you've done some shit but redeemed it', and just as certainly Holland stands in that place.
The only way De Burgh's getting there is if he gets a load of lizard storm troopers to come and annexe it as lebensraum.
Phil Collins not only played on Eno's stuff but also on Peter Gabriel's brilliant 3rd album (the one known as 'Melt' - he helpfully made his early solo album all be eponymous. Thanks for that, Peter. I really want to ask for a copy of the 3rd one and get the inconsequential turgid shite of the 4th in error thanks to its identical title. Tosser).
But Collins not only did all that Genesis tosh (what does any of it actually mean at all?), *and* all those stomach churning solo ballads, *and* the recent Disney songs, he also produced cack like Easy Lover for the previously excellent Philip Bailey.
We get the message now, Phil; you're evil, we know. You can be quiet now.
De Burgh is clearly with Collins; not only his dreadful personal output, but the collusion with royal lizards and assisting in their planning of our complete totalitarian domination.
This is a fight *for* freedom and good music and *against* fascism and High On Emotion. As the man said, it's a barbed wire fence, which side d'ya choose?
De Burgh even mocks us with messages in his lyrics. Listen to A Spaceman Came Travelling, about alien races come to take over earth; listen to Don't Pay The Ferryman, about not trusting those who lead you.
It's all there Jim, and yet you deny it. You are in the thrall of the Dark Prince. Bator.
de burgh wrote lady in red.
enough said.
(happy 2006 by the way, mr bliss x)
Sorry to change the subject (well, I'm not really). Just wanted to drop in a comment about your current reading - If Nobody Speaks of Remarkable Things - which I read a couple of years ago and really enjoyed. An excellent book - http://planetimpiazzi.blogspot.com/2004_02_01_planetimpiazzi_archive.html#107601324046412956
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