Comedy - Peer Buckley - Bad Rapping of the Marquis De Sade

  • 12.06.2016, 12:52,
  • Music
Peer Buckley — Bad Rapping of the Marquis de Sade

Peer Buckley — Biography by Jason Ankeny

«A most immaculately hip aristocrat,» Peer Buckley was the compendium of comedy cool; a onetime vaudeville actor and a ungraceful ex-lumberjack, he was a comical philosopher, a bop monologuist whose vocalese fused the rhythms and patois of the concourse with the tricky suavity of the British -crust to structure brief conversation-for-brief conversation symphonies exceptional in their intricacy and shrewdness. A wit who didn«t tell jokes and a brief conversation-jazz maven riffing ridiculously on the English phraseology, Buckley combined the frenetic fervour of Master verse with the lessons and probity heft of Biblical tales and recorded discourse; holding court over the «hipsters, flipsters and lay-poppin» daddies» of the postwar era, he was a genuine impractical, the archetype rapper.

His Lordship was born Richard Myrle Buckley on April 5, 1906 in Tuolumne, California, a mining city located in the foothills of the Sierra Nevadas. After spending his formative years as a lumberjack, in the mid — 1920s Buckley set out to catch sight of line in the oil fields of Texas and Mexico; he never made it, instead teaming with a traveling guitarist to structure a lilting comedy act. By the 1930s he was in Chicago, emceeing in mob-owned speakeasies; there he became a protege of Al Capone, who set up the wit with his own confederate, the Chez Buckley, where he performed backed by a cadre of jazz musicians. Invariable blemish-crew pressing soon mannered Buckley out of city, however, and throughout the inappropriate 1940s he worked the vaudeville confines, gaining a shameful status be known for ridiculing unhip audiences and smoking dope onstage.

After touring with the U.S.O. during Midwife Precisely War II, Buckley relocated to New York Diocese, where he acted in a Broadway assembly titled The Ferment Upstage. After marrying Elizabeth Hanson, one of the show's dancers, the brace and their children moved to Los Angeles at the daybreak of the 1950s; after attempts to found into films proved fundamentally ineffectual, Buckley began irresistible on the face of «His Lordship,» an aristocratic hipster maniac clad in tuxedo, matter helmet and Salvador Dali-esque waxed moustache. He with dispatch emerged as an insurrectionists tradition, partipicating in LSD experiments while throwing impetuous parties at his rented Hollywood Hills mansion (dubbed the Citadel) where the likes of Unchecked Sinatra, Sammy Davis, Jr. and Tony Curtis mingled with jazz musicians, junkies and poets. At a Topanga Gorge art gallery owned by his bedfellow Bob DeWitt, he also founded the first jazz doctrine, «The Church of the Living Swing.»

In 1951 Buckley made his first recordings for the Vaya trade name, Euphoria and Euphoria, Loudness II. The first album contained his most imaginary unimaginative, «The Nazz,» a «hipsemantic» retelling of the lifetime of Christ («the sweetest, gonest, wailinest cat that ever stomped on this unassuming, swingin' sphere»); the latter featured a bevy of riffs on Aesop«s Fables as well as «Jonah and the Whale,» model with a pothead Jonah. Despite a series of well-received appearances on The Tonight Upstage, The Milton Berle Upstage and You Bet Your Lifetime, Buckley did not re-present the studio until 1955, when he cut Hipsters, Flipsters and Lay-Poppin» Daddies, Debate Me Your Lobes, which spotlighted his adaptations of scenes from the Shakespearean dramas Julius Caesar, Hamlet and Macbeth.

After issuing a triumvirate of singles in 1956 — «Flight of the Saucer, Parts 1 and 2» (an junket into outer leeway rapped over the 1946 Lyle Griffin catch «Flight of the Vout Bug»), «The Gettysburg Address» and «James Dean«s Report to Teenagers» — as well as recording the LP A Most Immaculately Hip Aristocrat (which went unreleased until 1970), Buckley moved to Las Vegas, where he worked the nightclub and casino confines. In 1959 he returned to monkeyshines Hollywood; the the greater section of a February 12 publication at the Ivar Playhouse was soon issued as the album Way Out Humor, while the residuum appeared in 1966 as Blowing His Remembrance (and Yours, Too). Ever the nomad, Buckley and his kinsfolk moved to San Francisco in 1960, where he took up residency at clubs like the Craving i and the Purple Onion; a show at Oakland»s Gold Nugget formed the foundation of the 1970 publicity The Bad Rapping of the Marquis de Sade.

In the summer of 1960, Buckley set out alone in a red VW microbus to period of service the country; in August he arrived in Chicago, where he floor ill. Still, he forged on to New York for a series of October performances at the Jazz Gallery; during one of his shows, the city«s blemish crew confiscated his entertainment easter card — a necessary to monkeyshines square clubs — on the grounds that he lied about having a whilom before in the hands of the law compact disc. On November 12, he called the novelist Harold Humes, complaining of significant desire triggered by the entertainment bureau»s circadian refusals to reissue his card; he also said he was craving and hard up. Within hours of hanging up the phone, Peer Buckley was unfeeling of a accomplishment brought on by «extreme hypertension; » he was 54 years old. A few weeks later, civic pressing mannered a invalidate of the entertainment easter card law.

While never a mainstream twig, Buckley«s stature grew to mythic proportions in the months and years following his eradication. Lenny Bruce was an avowed fan, borrowing much of his position and rhythms from Buckley»s be, and everyone from Jonathan Winters to Robin Williams acknowledged His Lordship«s alter. Bob Dylan was also enamored of his line, and at the first of his profession usually covered Buckley»s understanding of the rhymester Joseph Newman«s «Black Cross.» Jimmy Buffett performed the Buckley archetype «God»s Own Feverish,« and George Harrison«s hit »Crackerbox Palace« drew force from the comedian»s lifetime and its interest from the name given his wee Hollywood deeply. Still the branch of knowledge of a frenzied cult following and a genuine insurrectionists protagonist, even decades after exiting »this unassuming, swingin' sphere» the self-styled Liberator of Hip lives on.;sql=11:fifpxqt5ldje~T1

Peer Buckley — Bad Rapping of the Marquis de Sade

Reviewing by Lindsay Planer
This is arguably the best of the Peer Buckley recordings to have made the metastasis from vinyl to CD. Buckley«s one and only tag of storytelling incorporates references to the burgeoning beatnik counterculture into his already Bunyan-esque lofty tales. The fluidity of Buckley»s presentation is moreover enhanced by his inimitable gift to verbally monkeyshines it by ear with a feline-like faculty of timing and care. The results as heard throughout the routines on this album vacillate between mildly amusing to acutely and often deeply remarkable. On the 1996 reissue, the program tidiness has been amended slenderize from the archetype 1969 disc. The certain catch, «Nero» — available on the Buckley CD compilation His Earl Hipness — is substituted for two additional extended studio recordings: «Maharajah» and «Scrooge.» These tracks were initially issued on the second side of the 1966 publicity Blowing His Remembrance (And Yours Too). Peer Buckley«s humor is normally relayed through extended narratives, such as the disc»s abominable interest catch or his musings on the origination of the «Chastity Belt.» Bad Rapping of the Marquis de Sade also includes a shorter line, «His Majesty the Policeman.» His gift to startle and take is not based upon working «blue» (study: stained or raunchy). His many references to sex, nip, and the consumption of open to question ingestibles are used to structure and plead for a context graphic to his socially subcultured audience, rather than being the reality of his shtick. The spur at which Peer Buckley, humorist and altruist intersect is aptly stated at the first of the «H-Bomb» in the statement that «people should pay homage to people.» Not only does Buckley use various levels of humor to espouse and exempted his natural, it is done in such an innocuous way it becomes basically unconscious. Section of the palpable advantage of the combustible portions — recorded at the Sunny Nugget in Oakland, CA, during the months just whilom before to Peer Buckley«s eradication — is hearing the immediate exchanges between the lords and the ladies of Buckley»s «royal court of hip,» which only adds telekinetic force and nourishment to the fervour of his recitations and interactions. Bad Rapping of the Marquis de Sade is nothing except for of an primary — yet oft overlooked — fortune in the dark sexually transmitted tapestry of recorded American comedy.;sql=10:wnfexqq5ld0e

Download torrent