Two grossly different versions of this song were written one afternoon in July ’81: An instrumental “Piano Version”, and a vocal “Dub Version.” It was my idea that they be significantly different so that they not be rehashes of one another.
It was the day of the second Psychedelic Furs show at the Country Club in Sherman Oaks, and I was inspired by my never-ending infatuation with Kim, as well as my daily intake of great dub records like Street Parade and Broadway by The Clash, Pigalle La Blanche by Lavilliers, and watching “Logan’s Run” earlier that hot sticky afternoon, realizing how extraordinarily beautiful Jenny Agutter was, especially in the resemblance she bore to Kim.
I originally gave both pieces the title Thank You J.T. because Judie Tzuke was also a dead ringer for Kim, and I was becoming rapidly obsessed with her image. I didn’t want to use Kim’s real name or her initials lest I have to explain away later on who she was, and J.T. seemed just anonymous enough to keep me in the clear.
I was convinced that afternoon as I played this chord sequence (which make up the introduction to the Piano Version):
Bm F# F#7 Bm / Bm(A) G Em7/Bm7 A6/A F#/F#7
that I had created absolute brilliance. It is still a favorite of mine.
1984_0904 : Thank You, J.T.
Description
Two grossly different versions of this song were written one afternoon in July ’81: An instrumental “Piano Version”, and a vocal “Dub Version.” It was my idea that they be significantly different so that they not be rehashes of one another.
It was the day of the second Psychedelic Furs show at the Country Club in Sherman Oaks, and I was inspired by my never-ending infatuation with Kim, as well as my daily intake of great dub records like Street Parade and Broadway by The Clash, Pigalle La Blanche by Lavilliers, and watching “Logan’s Run” earlier that hot sticky afternoon, realizing how extraordinarily beautiful Jenny Agutter was, especially in the resemblance she bore to Kim.
I originally gave both pieces the title Thank You J.T. because Judie Tzuke was also a dead ringer for Kim, and I was becoming rapidly obsessed with her image. I didn’t want to use Kim’s real name or her initials lest I have to explain away later on who she was, and J.T. seemed just anonymous enough to keep me in the clear.
I was convinced that afternoon as I played this chord sequence (which make up the introduction to the Piano Version):
Bm F# F#7 Bm / Bm(A) G Em7/Bm7 A6/A F#/F#7
that I had created absolute brilliance. It is still a favorite of mine.
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