NONSTOPEROTIK

NONSTOPEROTIK

I finally came into possession of an old guitar someone had given me at a nightclub in San Francisco awhile back; Eric Drew Feldman has been holding it for me there on Haight Street. He convinced me that it looked cool (it was black) and had been given in the spirit of benevolence. Every time I picked it up a nice chord came out and so I lovingly cleaned it with red wine in the dressing room the following night and began to write. I told the tour manager that we could drive in my Cadillac directly to a recording studio in Los Angeles (and he could book one, oh, and a rhythm section, too?) from the gig in San Luis Obispo which would put us at the studio at about 4am. It all happened according to plan and we cut the initial tracks there in the wee hours over a few days, and then moved onto an equally haunted studio in London and Eric Drew Feldman joined us there and we finished the record in St John s Wood. Like I said, the studio was haunted and I wrote many a couplet by candlelight in the studio accommodation, slept very little, and only felt the need to get out of there fast on the last night. The spirits had not ever bothered me, other than low drama moral support, but I was informed that they had heard enough and it was time to move on; plus I had a gig in Ireland.<br><br>When I was a boy the planet we boys called a fern was code for vagina, and to this day I love fern plants. The love of the father, dead or alive, the pain of too much pleasure, till death do us part, the voice of another song man from the other side, with or without God, Teri and the Possibilities, were ever you may be, the smell of sex in the air, seduced, slain, on my knees in prayer, sucking at the only thing that matters, my own personal Meret Oppenheim, I am Man Ray and I want you and to be all the way inside you, the cameras whirring as we put some elbow grease into the scene, the audience watching us in the dark.