Kimya dawson hidden vagenda rar

Elwood is a character that kind of is now an entity that stands on his own. He's like an evil twin of mine. And he really exists as his own character. But, yeah, the interviews are all done in the Elwood character.

And thank God that Elwood is a minimalist, because the strength of the book--and you are one of the best interviewers alive, and you know this--that the And so Elwood's a minimalist, and this we've achieved in this book. We've just let the legends and the stars tell their story.

That way we can focus in on truly what--the content that's important, and that is the content of the musicians and the people who live this life. And from then on, I began to go out and try to search the bins in the record stores for blues artists and then started listening to John Lee Hooker. And we had a tremendous booking agent in Ottawa, Canada, where I grew up--that's the capital of that great, great nation--and my parents worked for the government up there, and I was a kind of a son of government workers up there.

And there was a club called Le Hibou which was right on Sussex Drive near where the prime minister lives. And we had a booker there named Harvey Glatt, and he brought in all of the great blues stars of the age so that, as a teen-ager, I jammed behind Muddy Waters when S.

Leary refused to take the drum kit. You make Muddy feel good. And it was, I guess, just through the insight of this guy who was, you know, booking for the college crowd up there. And then listening to the black radio stations in Boston and Detroit and New York, this was--you know, these were sort of all part of my exposures, I guess. What did they listen to, and how did that affect what you liked or didn't like? So he would go and he'd see that some guy in Ottawa or Hull or where we were living there would be selling a hundred records, and he'd just go out and buy 'em all.

So we were listening to anything from Glenn Miller to Mario Lanza, lots of Broadway soundtracks and stuff. That was really something because, you know, the value of horns was there.

But my dad was into the swing band music, as many people were in Canada at that time. Whoa, OK. So you're growing up in Canada; you're going to a seminary and listening to blues and rock 'n' roll and rhythm and blues.

GROSS: Long before you became part of the Blues Brothers and you developed this kind of alter ego for yourself, did you have a pose when you were in high school? Did you want to be black? Did you want to be a blues musician? I wanted to be Paul Butterfield and Charlie Musselwhite. And I used to walk around in a long trench coat, a long brown trench coat with shades, and I slicked my hair back, and I'd try to find any little band up in the bars up in the Gatineau and up in Ottawa and in Hull and where I was living.

And of course I was posing as Paul Butterfield. Yeah, absolutely. And I had, you know, the math whiz in class in grade 11 was pretending to be Mick Jagger. So everybody was posing, and it was all based on rock 'n' roll and music and blues then, all of it.

The drumming was sporadic but, you know, I filled for bands now and again when I was growing up. GROSS: And were you using mostly your voice, or were you--did you almost have a persona singing voice? AYKROYD: Well, back then you tried to kind of imitate the people that were singing, so, you know in different voice even today, I mean, you know, when I sing, I try to, you know, get down and, you know, be someone else.

You know, you try to sing and try to singing Who do you love? Who do you love? In normal voice I mean, of course you sing like the people that you want to emulate and people that you admire. This record that Jimmy Belushi and I put out last year, which made it to number one on the blues chart, "Have Love Will Travel," I'm more close to my own voice on that than some of the other stuff we did as the Blues Brothers, I guess.

But I've always kind of sung My baby don't have to rob and steal. My baby don't have to worry. I give that little girl everything she needs. I am her driving wheel. She left me this morning, said she gonna be back soon.

My baby left me this morning, said she's gonna be back soon. Well, that'll have to be late Friday evening or early Saturday afternoon. I wrote my baby a letter. Don't want no one to break the seal. My letter goes to my baby. He has a new book of interviews from his radio show the "House of Blues Radio Hour. And John came into Toronto and he joined us on the set of the Second City stage, and we did an improv set, and then we went back to my very famous speakeasy called the , which opened after after the Liquor Control Board of Ontario closed most of the bars in the province.

We had a bar at the corner of Queen and River at Queen Street, and all the streetcar drivers and cops from, like, outlying regions and waiters and waitresses and dancers would come to drink.

This is a great record. Oh, I'm from Chicago. I hear the blues now and again. But I'm into heavy metal,' he says. And Howard Shore was there that night. He's, of course, the great Oscar-winning composer of "The Lord of The Rings" trilogy music; he was the original musical director on "Saturday Night Live.

And we started to correspond--I didn't go back to New York with John. He had managed to get Gilda to go back with him. But we kept in touch on the phone, and we started to look at material, develop material.

And Willie understood what we were trying to do, like so many that came along and joined us. They understood that, OK, these guys aren't the greatest musicians or singers or dancers, but what they are are great front men and they love and respect the music. So the hat and glasses are from the John Lee Hooker album "House of the Blues"; he wears those shades and that hat on the cover there.

The suits, the black jacket and thin tie and white shirts were because, you know, a lot of artists in the '60s kind of, you know, who were progressive and maybe were getting in trouble with the law like Lenny Bruce wanted to look straight. And so it was kind of trying to get that IRS look together to kind of fool the straights, where that came from. So did you ever feel like suddenly you were in, like, the side that you didn't want to be on?

AYKROYD: Well, I always felt, you know, whatever artists we ever played with or worked with or that were in the movies or records, that they never were being paid enough, and I always tried on my own to kind of supplement that.

But what I felt more was that, you know, John and I, when we did the Blues Brothers, we were in existence to serve these great artists and to, you know, perhaps maybe, you know, reintroduce them to our audience. And we always felt a great reverence for James Brown, Ray Charles, Aretha, and never felt that we were their equal, but we felt that we were really in service to their gift. And I think that's why people like Steve Cropper and Duck Dunn and Tom Malone and Al Rubin and Marini, you know, our great band that we had--I think that's why they joined us, and they realized that, you know, we had a great reverence and respect for the music.

And that's why they were so behind us. All of us felt in service to these great artists, as I do feel today, like--when I was back in Chicago, we were working on--I think it was--I guess it was "The Blues Brothers" movie--Albert Collins came in to play at Wise Fools. And he pulled up in his car, and he was unloading his amp and the drums, and I was sitting waiting for him to go on stage, and I looked at him, and nobody was helping him.

And I got out there and basically was his roadie for the evening. And that was the most satisfying--one of the most satisfying feelings I've ever had, that I could tangibly really help this man get on stage and play his music.

And he didn't know who I was. I was just a guy who was helping him to pull his equipment in out of the rain and to get on stage. And I really feel honored that I was able to do that.

And in college, I was a stage manager with the Sock 'n' Buskin group at Carleton University, which is a great school in Ottawa, Canada. I was a terrible stage manager 'cause I wanted to be an actor. But the producers and directors of these shows had sensed that, and they kind of let me come on stage. We did "Tom Paine"; I played the king of France and a few other things in there. And I basically, you know--just little stuff, did some guerrilla theater, some Ferlinghetti and that type of stuff, you know, anything to kind of get out there and get involved and have fun.

And I gotta tell you, Terry, I mean, I have had fun. My whole life, my whole professional life has been fun. I don't think really, you know, I can--I don't really think I can call it work. It's just been really, really fun. Did you ever do the equivalent of, you know, the Bass-O-Matic or those Ronco commercials?

AYKROYD: Well, one of my first jobs in broadcasting was working for City-TV in Toronto, which was this whole new concept in urban television that really--basically today your news desks across America, Channel 7, 4 or 2, wherever you want to be in network, with the graphics and the presence, the seemingly sort of active presence of the newscaster--this is from Moses Znaimer's City-TV.

He basically changed the whole format and the whole delivery of news in North America. And I worked for his station; I was a game show announcer.

And I also did, you know, the shock box announcing ph , so I actually had to do that fast rap stuff for, you know, car companies and beer companies and all that. So, sure, I was actually doing it professionally when I first started out. And I was hired by none other than Ivan Reitman, who we went on to do the "Ghostbusters" thing together. Yeah, I was a mailman in Toronto when I first moved there.

I knew I wanted to go to Toronto, work with Lorne Michaels again. I had gone there to do a special with him when I was 19, went back to Carleton University, couldn't concentrate--you know, I had to be in show business--dropped out of school, much to the chagrin of my parents. I got a job driving mail truck in Toronto, and then I shifted to the broadcasting. GROSS: Let me ask about one of the parody commercials you did, and this is a terrific video compilation of your best--or some of your best sketches from "Saturday Night Live.

It's like a blender that turns fish into a delicious shake. No, no, my aunt, the late Helene Goujean ph --she's a lovely woman, my mother's sister. She was, in fact, the Julia Child of Canada. She had a television show and a cuisine shop in Montreal during the '60s. And she--I went to her house for lunch, and she was a, you know, master gourmet chef, and she was very well known for it.

She was on the network, the TV up there. And she said she was making a fish soup. And I saw--she dropped the whole fish into the blender. The bones--you pick the bones out like you were eating a fillet. Don't worry about it. And we're sitting there, you know, and we were just kind of laughing over things, and I was thinking about that. And it's hard to get Paul to laugh, you know, because he's so intellectual, so smart.

You know, you gotta be at a certain level. When he started to snort, I said, man, I got something if I can make Paul laugh this easy. And I went away and I wrote the scene based upon that night and my aunt's real experience with the fish in a blender. And I remember a woman wrote me a letter; she was very upset that I would change the molecular state of the fish from solid to liquid, you know, on television. She was really, really upset about that. You have a bass.

You're trying to find an exciting new way to prepare it for dinner. You could scale the bass, remove the bass's tail, head and bones and serve the fish as you would any other fish dinner. Later that year, Hidden Vagenda arrived on K Records.

Her career took a slight but surprising turn in , when the Juno soundtrack became a multi-platinum success and K Records released her first children's album, Alphabutt, which included the songs "Wiggle My Tooth," "Little Monster Babies," and "Pee Pee in the Potty. Sign In. Listen Now Browse Radio Search. Kimya Dawson. Top Songs See All.

Albums See All. Thunder Thighs Alphabutt Remember That I Love You Hidden Vagenda My mom needs hearing aids, new shoulders, and new legs My dad needs a break he works all day every day My brother needs a place and a job where he can make Enough money to take care of his baby Here's a simple dissertation on a complex situation Money and intimidation and mass graves make strong foundations For the giant corporations that own all the TV.

Now listen real hard, put down that guitar, Don't be a retard, be all that you can be" The things he said I could be were laid out right in front of me Would I choose deep fried apathy, mcnuggets where my balls should be, Or super sized conformity? I walked away and I'm still me Free to go fucking crazy, free to know why I'm angry One and one and one is three and you and me is all I need Singing songs, drawing cocks, picking locks to locked doors Find deflated hearts, and pump them up 4.

Lullaby For The Taken lyrics buy track Bombs are dropping, smoke fills the air I wanna duck and cover but I've gotta stay out here 'cause I know myself and if I hole up in my room I'll be consumed by the doom and the gloom So I called john 'cause I know he knows sorrow He said "i'll be in the city tomorrow" So I go down and I watch him sing And the way he sings sends a chill right through me, yeah And now there's a mountain goat Precariously balanced on the frog stuck in my throat It says "sometimes whispering's okay, But maybe you'd feel better if you screamed today" The lady took the baby I know she loves the baby But the baby has a daddy And his daddy loves him too How could she take the baby?

Maybe she's gone crazy She won't share It's not fair There's nothing I can do The lady took the baby I know she loves the baby But the baby has a daddy And his daddy loves him too How could she take the baby? Maybe she's gone crazy She won't share It's not fair There's nothing I can do Tuesday night grandma curled up in my bed By wednesday morning my grandma was dead I was in charlotte, I took the bus home Her shoes, watch, and teeth were still in my room And as I lay me down to sleep I felt her spirit rise up through me She said "i got to live a long eighty six years, dry your tears.

I know it's hard but please let go so I can meet your grandpa in the undertow Chin up girl, you've got to be strong, and know when you're singing I'm singing along" The lady took the baby I know she loves the baby But the baby has a daddy And his daddy loves him too How could she take the baby?

Maybe she's gone crazy She won't share It's not fair There's nothing I can do Little bitty baby so far away We hope that you can come home soon When we're not together, now or ever Always remember I love you Little bitty baby so far away We hope that you can come home soon When we're not together, now or ever Always remember I love you 5. I Will Never Forget lyrics buy track I sat in the swamp with a little pink piggy Who loved roller-skating and playing pretend The boy that she loved was a real snackmaster The world was a beach ball and we were all friends Then he died alone and the last time I saw her It looked like the reaper had rapped on her door She said "do you remember singing ice ice baby with me Laying down on the reef bathroom floor?

I could never forget I will never forget How could I ever forget? I could never forget I will never forget 6. Singing Machine lyrics buy track We switched to jay leno from da ali g show To see some kids that we know do what they do on TV. Moving On lyrics buy track She was reunited with the father of her kids He said "it wasn't me it was the booze; I know not what I did" She said "you filled the bathtub with my blood when you bashed in my head You can go to hell I'm moving on You can go to hell I'm moving on" Then she saw her mom who said "i love you sweet baby" She said "then why'd you beat me until I started to bleed?

You starved me too I had to dance for money in the street You can go to hell I'm moving on You can go to hell I'm moving on" Running from the one who gave her life Running from the man who called her wife She will find a way out I am sure Then no one can hurt her anymore When she got there the old man was holding a tutu And a pair of brand new pink capezio toe shoes She laughed and said "excuse me sir do those belong to you?

Blue Like Nevermind lyrics buy track Eyes like omens I've been told And friends are found when keys are stolen Find the keys the corn is golden Friends have golden hearts and souls and Icy blue eyes may seem cold when Hearts are far apart and broken When the sky is open wide Pages bound to the roadside Breaking backbones as I drive Blue like nevermind Blue is fire and blood and balls Paint peeling on the bedroom walls And broken doors on bathroom stalls And waterfalls and booty calls Je vois les yeux Les yeux son tres bleu Mes yeuse je fermerai Et dites je suis fatigue Eyes like omens I've been told And friends are found when keys are stolen Find the keys the corn is golden Friends have golden hearts and souls and Icy blue eyes may seem cold when Hearts are far apart and broken When the sky is open wide Pages bound to the roadside Breaking backbones as I drive Blue like nevermind 9.

Parade lyrics buy track White man in white pants was dancing Inside out and lost his ass A little black girl on black rollerblades Found his butt and picked it up And gave it back and said "hey pops, C'mon down we're having a parade!

A million people realizing that reality Is much more real outside their door than it is on TV A plethora of specimens have taken to the street Singing "i'm in new york city, don't I look so pretty? White man in white pants was dancing Inside out and lost his ass A little black girl on black rollerblades Found his butt and picked it up And gave it back and said "hey pops, C'mon down we're having a parade, C'mon down we're having a parade, C'mon down we're having a parade, Woohoo! Oh would I stay or go away?

Would you grieve if I chose to leave? What would you say if I was in pain? Last night sergio valenti customized some denim for me Special for my special shape, they fit me perfectly Now I've got this new ensemble, certain circles I'm a bombshell But a guardian anglo keeps saying "negro please" Pay attention and you'll notice one man's chops is one man's bloatus One man's taint is one man's choad is one man's mr. Five years in the saddle and I've gotta take the reins Five years in the saddle, five years in the saddle Five years in the saddle and I've gotta take the reins Five years in the saddle and I've gotta take the reins Five years in the saddle, five years in the saddle Five years in the saddle and I've gotta take the reins You Love Me lyrics buy track I moved around from town to town Lots of people around, but still so lonely Friendships would grow then I'd hit the road Making up excuses for why I had to leave Always been too scared and unprepared To let anybody get too close to me But when I met you right away I knew You would never ever ever hurt me And the road's still long but you come along And you hold my hand and you understand When I look at you I can't believe it's true You're all I ever dreamed of and you love me And you love me, and you love me It is the first album I didn't record on an analog cassette 4-track machine.

Recorded at Mourningwood Studio, San Francisco and in Jason and Brain's living rooms, kitchens, bedrooms, garages and yards. Ouen France. Parade was recorded at the Audiology Center, Moseley, England. Huge thanks to Third Eye Blind for the use of their studio. Contact Kimya Dawson. Streaming and Download help. Report this album or account. If you like Kimya Dawson, you may also like:. One of the truest most soulful albums I've ever heard. Fell in love instantly.

Pats music came to me at a very needed time. Hope he's doing well. First you come for the energy, then you come back because of the catchy music, then you stay for the lyrics. Love this band!