Released in 1996
Written by Paul McCartney • Allen Ginsberg • Philip Glass
Last updated on September 26, 2020
Album This song officially appears on the The Ballad of the Skeletons EP.
Timeline This song was officially released in 1996
Timeline This song was written, or began to be written, in 1995, when Paul McCartney was 53 years old)
This song was recorded during the following studio sessions:
"The Ballad Of The Skeletons" session
October 1995
"Standing" in the Shadow of Love
Sep 27, 1997 • From Billboard
From OpenCulture, April 17, 2012:
Allen Ginsberg was an unlikely MTV star. In late 1996 the Beat poet was 70 years old and in declining health. He had less than a year to live. But Ginsberg managed to stay culturally and politically relevant, right up to the end. His last major project was a collaboration with Paul McCartney and Philip Glass, among others, on a musical adaptation of his poem, “The Ballad of the Skeletons.”
The poem was first published in 1995. The American political climate from which it arose bears a striking resemblance to the one we’re living in today. “I started it,” Ginsberg told Harvey Kubernik of The Los Angeles Times in 1996, “because [of] all that inflated bull about the family values, the ‘contract with America,’ Newt Gingrich and all the loudmouth stuff on talk radio, and Rush Limbaugh and all those other guys. It seemed obnoxious and stupid and kind of sub-contradictory, so I figured I’d write a poem to knock it out of the ring.”
The skeletal imagery was inspired by the Mexican holiday, the Day of the Dead, and takes a playful poke at the vanity of human desires. “It’s an old trick,” Ginsberg told Steve Silberman in a 1996 interview for HotWired, “to dress up archetypal characters as skeletons: the bishop, the Pope, the President, the police chief. There’s a Mexican painter–Posada–who does exactly that.”
In October of 1995, Ginsberg visited Paul McCartney and his family at their home in England. He recited “The Ballad of the Skeletons while one of McCartney’s daughters filmed it. As Ginsberg recalled to Silberman, he mentioned that he had to give a reading with Anne Waldman and other poets at the Royal Albert Hall, and was looking for a guitarist to accompany him. “Why don’t you try me,” McCartney said. “I love the poem.” Ginsberg continued the story:
He showed up at 5 p.m. for the sound check, and he bought a box for his family. Got all his kids together, four of them, and his wife, and he sat through the whole evening of poetry, and we didn’t say who my accompanist was going to be. We introduced him at the end of the evening, and then the roar went up on the floor of the Albert Hall, and we knocked out the song. He said if I ever got around to recording it, let him know. So he volunteered, and we made a basic track, and sent it to him, on 24 tracks, and he added maracas and drums, which it needed. It gave it a skeleton, gave it a shape. And also organ, he was trying to get that effect of Al Kooper on the early Dylan. And guitar, so he put a lot of work in on that. And then we got it back just in time for Philip Glass to fill in his arpeggios on piano.
The recording was produced by Lenny Kaye, guitarist for the Patti Smith Group, who had put together a group of musicians for a performance of the song at a Tibet House benefit in April of 1996. One member of the audience that night was Danny Goldberg, president of Mercury Records and a fan of Ginsberg. He invited the poet to record the song, and it all came together quickly. In a 1997 article in Tikkun, Goldberg remembered Ginsberg’s giddiness over the project: “He loved that Paul McCartney had overdubbed drums on ‘Skeletons.’ He said, ‘It’s the closest I’m going to ever come to being in the Beatles,’ and giggled like a teenager.”
The recording features Ginsberg on vocals, Glass on keyboards, McCartney on guitar, drums, Hammond organ and maracas, Kaye on bass, Marc Ribot on guitar and David Mansfield on Guitar. Mercury released the song as a CD single in two versions, including one with the language sanitized for radio and television. The “B side” was a recording of Ginsberg’s “New Stanzas for Amazing Grace“ that did not include McCartney or Glass. The next step was to create a video. As Goldberg recalled, Ginsberg knew an opportunity when he saw one:
When Tom Freston, the CEO of MTV, bought five of Allen’s photos, Ginsberg promptly called me, not too subtly implying that if Mercury would fund production of a video, we might be able to get on MTV. Allen had an unerring instinct of how to mobilize his mystique for those who were interested. He regaled Freston with stories of the beatniks one night at our house, which made it almost impossible for MTV to reject his video despite the fact that he was decades older than typical MTV artists and audience members. A political satire of both generations, “Skeletons” received highly pubicized and much-coveted “buzz bin” rotation on MTV in the weeks before the last election–to the consternation of other record companies who were submitting artists with more conventional credentials. This made Allen the only seventy-year-old besides Tony Bennett to ever be played on MTV.
The video was directed by Gus Van Sant, who had ties to surviving members of the Beat generation. Van Sant had directed William S. Burroughs in the film Drugstore Cowboy, and had made short films–Thanksgiving Prayer and The Discipline of DE— based on writing by Burroughs. Ginsberg was happy with Van Sant’s work, despite a tight filming budget. “It’s a great collage,” Ginsberg told Silberman. “He went back to old Pathé, Satan skeletons, and mixed them up with Rush Limbaugh, and Dole, and the local politicians, Newt Gingrich, and the President. And mixed those up with the atom bomb, when I talk about the electric chair– ‘Hey, what’s cookin?’–you got Satan setting off an atom bomb, and I’m trembling with a USA hat on, the Uncle Sam hat on. So it’s quite a production, it’s fun.”
From Club Sandwich N°81, Spring 1997:
Poet extraordinaire Allen Ginsberg is not only one of the most famous, prolific and profound exponents of his art, carving his name into the pantheon of the century’s best, he’s also a friend of Paul McCartney. Readers may recall seeing in a previous Club Sandwich (issue 76) a photograph of Allen and Paul together, on stage at the Royal Albert Hall. Allen read a riveting new piece, The Ballad Of The Skeletons, while Paul – his surprise guest, whose unexpected appearance drew gasps, even from the “cool” crowd – vamped on electric guitar. During that same visit to England, Allen and Paul also worked together in Paul’s studio, cutting the definitive version of the piece that, at its fullest and in all its finery, extends to almost eight minutes. Paul contributed not only guitar but also drums, maracas and a Hammond organ passage. (Later still, other musicians Philip Glass, Lenny Kaye, Marc Ribot and David Mansfield also contributed.) The result is a four-track CD EP, issued shortly before Christmas in USA by Mercury Records, comprising this full piece, an edited version, a “clean” version and, finally, a new rendition of ‘Amazing Grace’ that has no McCartney connection.
“The Ballad Of The Skeletons” was included in the 2020 reissue of “Flaming Pie” but was not remastered.
Allen Ginsberg: “I did the poem at Carnegie Hall (in New York at a benefit) for the Tibet House, that followed the Albert Hall show. And… Danny Goldberg, (President of Mercury Records), was in the audience at Carnegie Hall, (and he) called up my office.. ’cause he heard it and liked it and said, “Do you want to record it?” I got together Marc Ribot, who I had played it with first, Lenny (Kaye) and David Mansfield. And Lenny was the session-maker… We made a basic track – and McCartney had said, “If you record it, I’d like to work on it. It would be fun”. So we did a 24-hour overnight-mail to him, and he got it, and listened to it, after a few days. He spent a day on it. He put on maracas, drums, (which was unexpected, which we needed), and organ, Hammond organ, trying to sound like Al Kooper. And guitar, which was very strong. Then the day it arrived, Philip Glass was in town, and he volunteered because he thought it was my hit, so he wanted to do something with it. He added on piano, very much in his style, and fitting perfectly onto the rest of the tape. Then Hal Willner wound up mixing it and brought out McCartney’s role and the structure that McCartney
had given to it, ’cause he gave it a very nice, dramatic structure. I had planned that after “Blow Nancy Blow” you would have four consecutive choruses of instrumentals. McCartney and I had planned the breaks the first time, and varied it a little..”Allen Ginsberg: “[Paul] reacts to the words in an intelligent way. You can hear it on the tape. Like, if I say on the recording, “What’s cooking”, all of a sudden he brings in the maracas to get that really funny excitement. When I say, “Blow Nancy Blow”, he blows on the Hammond organ. He added a lot of enthusiasm and a lot of interpretation. And sometimes when I made a flub, he covered it. He left his lead sheet in his guitar case, so we had to share my lead sheet (at the gig), which was fun.”
Said the Presidential Skeleton
I won't sign the bill
Said the Speaker skeleton
Yes you will
Said the Representative Skeleton
I object
Said the Supreme Court skeleton
Whaddya expect
Said the Miltary skeleton
Buy Star Bombs
Said the Upperclass Skeleton
Starve unmarried moms
Said the Yahoo Skeleton
Stop dirty art
Said the Right Wing skeleton
Forget about yr heart
Said the Gnostic Skeleton
The Human Form's divine
Said the Moral Majority skeleton
No it's not it's mine
Said the Buddha Skeleton
Compassion is wealth
Said the Corporate skeleton
It's bad for your health
Said the Old Christ skeleton
Care for the Poor
Said the Son of God skeleton
AIDS needs cure
Said the Homophobe skeleton
Gay folk suck
Said the Heritage Policy skeleton
Blacks're outa luck
Said the Macho skeleton
Women in their place
Said the Fundamentalist skeleton
Increase human race
Said the Right-to-Life skeleton
Foetus has a soul
Said Pro Choice skeleton
Shove it up your hole
Said the Downsized skeleton
Robots got my job
Said the Tough-on-Crime skeleton
Tear gas the mob
Said the Governor skeleton
Cut school lunch
Said the Mayor skeleton
Eat the budget crunch
Said the Neo Conservative skeleton
Homeless off the street!
Said the Free Market skeleton
Use 'em up for meat
Said the Think Tank skeleton
Free Market's the way
Said the Saving & Loan skeleton
Make the State pay
Said the Chrysler skeleton
Pay for you & me
Said the Nuke Power skeleton
& me & me & me
Said the Ecologic skeleton
Keep Skies blue
Said the Multinational skeleton
What's it worth to you?
Said the NAFTA skeleton
Get rich, Free Trade,
Said the Maquiladora skeleton
Sweat shops, low paid
Said the rich GATT skeleton
One world, high tech
Said the Underclass skeleton
Get it in the neck
Said the World Bank skeleton
Cut down your trees
Said the I.M.F. skeleton
Buy American cheese
Said the Underdeveloped skeleton
We want rice
Said Developed Nations' skeleton
Sell your bones for dice
Said the Ayatollah skeleton
Die writer die
Said Joe Stalin's skeleton
That's no lie
Said the Middle Kingdom skeleton
We swallowed Tibet
Said the Dalai Lama skeleton
Indigestion's whatcha get
Said the World Chorus skeleton
That's their fate
Said the U.S.A. skeleton
Gotta save Kuwait
Said the Petrochemical skeleton
Roar Bombers roar!
Said the Psychedelic skeleton
Smoke a dinosaur
Said Nancy's skeleton
Just say No
Said the Rasta skeleton
Blow Nancy Blow
Said Demagogue skeleton
Don't smoke Pot
Said Alcoholic skeleton
Let your liver rot
Said the Junkie skeleton
Can't we get a fix?
Said the Big Brother skeleton
Jail the dirty pricks
Said the Mirror skeleton
Hey good looking
Said the Electric Chair skeleton
Hey what's cooking?
Said the Talkshow skeleton
Fuck you in the face
Said the Family Values skeleton
My family values mace
Said the NY Times skeleton
That's not fit to print
Said the CIA skeleton
Cantcha take a hint?
Said the Network skeleton
Believe my lies
Said the Advertising skeleton
Don't get wise!
Said the Media skeleton
Believe you me
Said the Couch-potato skeleton
What me worry?
Said the TV skeleton
Eat sound bites
Said the Newscast skeleton
That's all Goodnight
EP • Released in 1996
7:49 • Studio version • A
Paul McCartney : Drums, Guitar, Hammond organ, Maracas Allen Ginsberg : Voice Philip Glass : Keyboard Lenny Kaye : Bass, Producer Marc Ribot : Guitar David Mansfield : Guitar Scott Ansell : Recording engineer Danny Goldberg : Executive producer David Silver : Executive producer Hal Willner : Mixing engineer Joe Palmaccio : Mastering
Session Recording: October 1995 • Studio Hog Hill Studio, Rye, UK
EP • Released in 1996
4:11 • Studio version • A1 • Edit
Paul McCartney : Drums, Guitar, Hammond organ, Maracas Allen Ginsberg : Voice Philip Glass : Keyboard Lenny Kaye : Bass, Producer Marc Ribot : Guitar David Mansfield : Guitar Scott Ansell : Recording engineer Danny Goldberg : Executive producer David Silver : Executive producer Hal Willner : Mixing engineer Joe Palmaccio : Mastering
Session Recording: October 1995 • Studio Hog Hill Studio, Rye, UK
EP • Released in 1996
7:48 • Studio version • A2 • Clean
Paul McCartney : Drums, Guitar, Hammond organ, Maracas Allen Ginsberg : Voice Philip Glass : Keyboard Lenny Kaye : Bass, Producer Marc Ribot : Guitar David Mansfield : Guitar Scott Ansell : Recording engineer Danny Goldberg : Executive producer David Silver : Executive producer Hal Willner : Mixing engineer Joe Palmaccio : Mastering
Session Recording: October 1995 • Studio Hog Hill Studio, Rye, UK
Flaming Pie - Archive Collection
Official album • Released in 2020
7:51 • Studio version • A
Paul McCartney : Drums, Guitar, Hammond organ, Maracas Allen Ginsberg : Voice Philip Glass : Keyboard Lenny Kaye : Bass, Producer Marc Ribot : Guitar David Mansfield : Guitar Alex Wharton : Remastering Scott Ansell : Recording engineer Danny Goldberg : Executive producer David Silver : Executive producer Hal Willner : Mixing engineer Joe Palmaccio : Mastering
Session Recording: October 1995 • Studio Hog Hill Studio, Rye, UK
Flaming Pie - Ultimate Archive Collection
Unofficial album • Released in 2016
7:47 • Studio version • A
Paul McCartney : Drums, Guitar, Hammond organ, Maracas Allen Ginsberg : Voice Philip Glass : Keyboard Lenny Kaye : Bass, Producer Marc Ribot : Guitar David Mansfield : Guitar Scott Ansell : Recording engineer Danny Goldberg : Executive producer David Silver : Executive producer Hal Willner : Mixing engineer Joe Palmaccio : Mastering
Session Recording: October 1995 • Studio Hog Hill Studio, Rye, UK
Flaming Pie - Ultimate Archive Collection
Unofficial album • Released in 2016
4:09 • Studio version • A1 • Edit
Paul McCartney : Drums, Guitar, Hammond organ, Maracas Allen Ginsberg : Voice Philip Glass : Keyboard Lenny Kaye : Bass Marc Ribot : Guitar David Mansfield : Guitar Scott Ansell : Recording engineer Danny Goldberg : Executive producer David Silver : Executive producer Hal Willner : Mixing engineer Joe Palmaccio : Mastering
Session Recording: October 1995 • Studio Hog Hill Studio, Rye, UK
Flaming Pie - Ultimate Archive Collection
Unofficial album • Released in 2016
7:47 • Studio version • A2 • Clean
Paul McCartney : Drums, Guitar, Hammond organ, Maracas Allen Ginsberg : Voice Philip Glass : Keyboard Lenny Kaye : Bass Marc Ribot : Guitar David Mansfield : Guitar Scott Ansell : Recording engineer Danny Goldberg : Executive producer David Silver : Executive producer Hal Willner : Mixing engineer Joe Palmaccio : Mastering
Session Recording: October 1995 • Studio Hog Hill Studio, Rye, UK
Where Footprints Never Go - Unofficial Rarities - Ultimate Archive Collection
Unofficial album • Released in 2016
Live Archives Vol. 2 (1990-1997)
Unofficial live • Released in 2017
“The Ballad of the Skeletons” has been played in 1 concerts.
Return Of The Forgotten - Allen Ginsberg Live At The Royal Albert Hall
Oct 16, 1995 • United Kingdom • London • Royal Albert Hall
Paul McCartney: Music Is Ideas. The Stories Behind the Songs (Vol. 2) 1990-2012
This new book by Luca Perasi traces Paul McCartney's post-Beatles output from 1990 to 2012 in the form of 250 song entries, filled with details about the recordings, stories behind the sessions and musical analysis. His pop albums, his forays into classical and avant-garde music, his penchant for covering old standards: a complete book to discover how these languages cross-pollinate and influence each other.
The second volume in a series that has established itself as a unique guide to take the reader on a journey into the astonishing creativity of Paul McCartney.
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