Over its decade-long history, the band has undergone a large number of personnel changes. Multi-instrumentalist and main songwriter Anton Newcombe is the only member who has stayed with the Brian Jonestown Massacre since its beginning, when it was founded by Newcombe, tambourine player Joel Gion (who stayed with him the longest), and guitarist/bassist/vocalist Matt Hollywood. There are at least two dozen musicians who have been in the BJM at one point or another.
Ex-members include: guitarist Jeff Davies; Matt Hollywood, a founding member of Portland band The Out Crowd; Peter Hayes, founding member of San Francisco rock trio Black Rebel Motorcycle Club; Joel Gion, a founding member of San Francisco band, The Dilettantes; Rob Campanella, a Los Angeles producer and engineer who has worked with The Tyde, Beachwood Sparks, Dead Meadow, Mia Doi Todd, Frausdots, Scarling., and his band The Quarter After; Bobby Hecksher, founding member of Los Angeles band The Warlocks; solo recording artist Miranda Lee Richards; Matt Tow, founding member of the Australian band The Lovetones.
Current long-term members include Collin Hegna (bass), Frankie Teardrop (guitar,noise,etc), and Dan Allaire (percussion). Long-time guitarist Ricky Rene Maymi was recently replaced by Irina Yaikowsky for a short tour, who was in turn, replaced by Ricky Rene Maymi.
Much has been made of the fact that Newcombe is head strong and has just one vision in mind: his own. However, many of the musicians who quit his band have stayed in his orbit and continue working with him in some capacity. Newcombe was, at one point, a drummer in Hecksher's Warlocks. Campanella produces or engineers many of the records on Newcombe's record label, the Committee to Keep Music Evil and has also been on the last 2 highly successful European tours, playing keyboards and on occasion, guitar. Gion is forever showing back up shaking the tambourine at BJM shows. Even the Dandy Warhols appear to have buried the hatchet with Newcombe, as he joined them onstage at Lollapalooza in July of 2005.
In 2005 the band released the EP We Are the Radio, on Newcombe's record label The Committee to Keep Music Evil.
The band announced the release of a new studio album, tentatively titled My Bloody Underground, which was released in 2008. On September 3, 2007, the band released rough recordings from the album for download from their website. Music videos of the songs on the album have also been released, including a music video compilation DVD entitled 'Book of Days'. Songs from Brian Jonestown Massacre were specially adapted for use in the score to the critically acclaimed independent film, "Four Eyed Monsters."
Talk
The Brian Jonestown Massacre Lyrics
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But we didn't do a thing all day
In fact I never even saw a guitar in his hand
Though I saw some people come and go
What they was doing I don't know
But I tell you I don't want to understand
I'm here to say, I was born to play, yeah-yeah-yeah
I saw him later on the street
With his fancy clothes baby look so neat
He must of had about 13 girls in tow
And I saw him later at the club
I said hello, do I know you bub
And at this point I don't want to know
I'm here to say, I want to play, yeah-yeah-yeah
I'm here to say, yeah-yeah-yeah
The lyrics to "Talk" by The Brian Jonestown Massacre seem to tell a story of a narrator visiting someone's house with the intention of playing music, but finding that nothing musical actually happens. The absence of a guitar in the person's hand suggests that music is not a priority for them. The singer observes people coming and going without knowing what they are doing, but expresses a disinterest in understanding their activities.
In the next verse, the singer encounters the person on the street wearing fancy clothes and surrounded by multiple girls. This reflects their popularity and success, but it also implies a sense of superficiality. When the singer meets them at a club, they greet them but express a lack of interest in getting to know them any further.
Overall, these lyrics express a disappointment with someone who has lost touch with their musical roots and seems more focused on maintaining a superficial image and social status. The singer reaffirms their own purpose, asserting that they were "born to play" and emphasizing their dedication to music.
Line by Line Meaning
Well I went over to his house to play
I visited his house with the intention of engaging in musical activities
But we didn't do a thing all day
However, we ended up not doing anything productive all day
In fact I never even saw a guitar in his hand
Surprisingly, I never witnessed him holding a guitar
Though I saw some people come and go
Nevertheless, I observed several individuals entering and leaving the premises
What they was doing I don't know
Despite that, I remain uncertain about their activities
But I tell you I don't want to understand
Regrettably, I am not interested in comprehending their actions
I'm here to say, I was born to play, yeah-yeah-yeah
My purpose here is to express that I possess inherent musical talent
I saw him later on the street
Subsequently, I encountered him on the street
With his fancy clothes baby look so neat
He appeared impeccably dressed, exuding a sense of sophistication
He must of had about 13 girls in tow
Interestingly, he seemed to be accompanied by approximately thirteen female companions
And I saw him later at the club
Furthermore, I spotted him later at the nightclub
I said hello, do I know you bub
Politely, I greeted him and inquired if we had met previously
And at this point I don't want to know
However, at this juncture, I have no desire to establish acquaintance
I'm here to say, I want to play, yeah-yeah-yeah
Resolutely, I want to emphasize that my primary goal is to engage in musical pursuits
I'm here to say, yeah-yeah-yeah
Once again, I assert my presence and purpose in a musical context
Lyrics © WARP MUSIC LIMITED
Written by: Anton Newcombe
Lyrics Licensed & Provided by LyricFind