Home Blitz [no
label 7" EP,
2005] I've been dreaming of a new R&R for awhile now--something
that bows in the direction of the form itself circa 1950-1980, but
understands all that's happened during the past generation. And outta
the blue, here comes this unsolicited chunk o' vinyl in the
mail a few months ago--a three-song 7" inside a super crude sleeve with
a drawing of a flaming third eye. Hmm. Noise? Psych? Punk? Improv? The image of the third eye, I must
brought to mind the 13th Floor Elevators. I was almost scared to play
record--I figured it's just gotta be another clanky noise record that
I've already heard hundreds of times over the past 15 years. That
shit's great 'n all, but how many NZ drone records can a human hear
feel like, uh, moving again?
So, what'd this mystery record sound like? Dig this: Big Star's Radio
City, early Modern Lovers, Flamin' Groovies circa '72-'74--but with
a casual no-fi fuck-all vibe that's closer to the first couple Harry
Pussy singles. Huh? Does that even make sense? Yeah. Fuck yeah!
"Apocalyptic Grades 2005" is an unlikely power-pop/post-punk hybrid
which finds its gurl-lust coming apart with guitars that sound like the
Fall circa '78 covering the Flamin' Groovies!----?
It reminds me of hearing the Flamin' Groovies' Grease
EP back in '74: 60s-style rockin' but drenched in somehow exciting muck. Except the Home Blitz guy is goin'
OFF on guitar--a hyper-strum, no-key, high-energy explosion unthinkable
by mid-70s R&R standards. Sonny Sharrock meets Alex Chilton?! On "AC S.S.," things get very
bratty and snatty--like
the early Screamin' Mee-Mees crossed with the early Modern Lovers.
Now I'm excited! Flip it over! This side is just called "Hey!" It comes on as if Big Star's Radio
City had been recorded under the more addled conditions of Alex
Chilton's Like Flies on Sherbert. It starts like a great
noise-drenched power-pop anthem--"I got the gift that keeps
on givin'/It's called electric guitar!"--but soon stops mid-stream. "I
gotta get some gum," the singer complains. It picks up again after the
song's imaginary bridge. A second guitar comes in--real magic
shit--melodic and overloaded like a perfect 1969 Lou Reed guitar
fill. Screeech! Record's over.
Sheee-iiiiit! I play the record again. And again. Once more. It's still
workin'! "The magic's in the music and the music's in me," as John
Sebastian said back in '65. It turns out this whole Home Blitz thing is
the work of one 20-year-old dude named Daniel DiMaggio from Princeton,
New Jersey. He wrote, sang, played guitars and drums, did the artwork,
and released it in a pressing of 200 copies. Ain't that the way it's
supposed to happen? And it's happened again!
-- Live Outside [no label 7" single, 2006] Oh boy, Daniel DiMaggio
returns with his second serving of Home Blitz free-pop. This time he
dragged his instruments and battery-powered amps onto the street in
front of his house and "performed live w/o
audience on the corner of Mercer and Hibben Streets, Princeton, NJ." Is
this the first power-pop field recording?! The A-side,
"Stupid Street," has Daniel narrating his own song, describing the
recording situation. He's playing the whole time. Following
the narrative set-up, he suddenly spits the first line of the song,
"Hey girl, I'm gonna cut your spine!" Wow. So sweetly vicious. The
bridge features a duet 'tween spastic Chuck Berry guitar and extremely
overloaded keyboards. It breaks down completely, and the song slowly
resumes. There's another cool guitar thing towards the end that sounds
like L. Reed stun-guitar as excuted by the hands of a 1975
somehow brand new! The flip side, "Feeling Cold," again documents the
Home Blitz street scene, this time purely in song. Like, it's November
in Jersey, and yer freezin' yer ass off recording on the sidewalk! It's
a perfect Modern Lovers/Half Japanese-style pop tune, with maybe one of
the all-time great fallen-apart guitar solos. "I feel like ridin' bikes
tonight/But mine's been in the shop all day."
and Family [Leaf Leaf Records split cassette, 2006] A cassette
in 2006?!! I had to hook up my old deck just to listen to this! The
Blitz side is a bit of a surprise. The Jonathan Richman/Alex Chilton
pop thing of the two HB singles is mixed up with other approaches.
has Daniel DiMaggio just playing acoustic guitar and singing, with some
leads overdubbed. The song reminds me of Big Star's version of Loudon
"Motel Blues." Dig that toy-piano outro! The cover of Public
"Bored" sounds nothing like the punk-rock you'd expect. Instead, it
across like a darkly shimmering psychedelic ballad. "Yard" has de-tuned
acoustic guitar, with in-the-red electronic squiggles, a bit of
(I think), and a clankin' noise section. I remember being slightly
when I saw Daniel mention Derek Bailey as an influence. Well, here
"Marquand Park" is just voice and piano, with a bit of electronics at
end. It could almost be a demo for The Beach Boys Love You,
Wilson's strange and underrated 1977 LP. Finally, "Gt Performance"
to be three pieces under one title. Or am I confused? The first section
is a full-blown noise piece--and a good one. It's hard to tell what
he's using to produce the sounds--turntable, pounding on walls, various
ambient sources, guitar? The results are varied--loud, soft, mostly
sparse--musique concrete? And then! ROCK! Guitar, drums, and voice
combine to do something pretty close to the power-noise-pop of the two
Home Blitz singles--except maybe a little punkier. Then everything
moves freely outward--bitchen guitar stuff--until we get another little
rocker (no noise) about "takin' chances and makin' friends." Hey, real
good job, Daniel! The Friends and Family side has a similar primitive
no-fi approach to making sounds--mostly songs with touches of
noise--but it's folk-psych-loser stuff that wears its pathos a little
too boldly for my taste.
Rettman's Home Blitz interview HERE]
Vivants -- Soul Action [Old Gold 10" EP, 2006] Oh wow, here we go
again! This is a new band led by Ben Young, who runs the
avant-noise-improv label Old Gold in Atlanta. In the past, Ben has also
headed a couple of song-oriented art-pop bands (Bad Poet and Forever),
but this time around the rock is way out front. Although definitely
post-punk in form and attitude, it's hard not to hear bands like the
Raspberries and Big Star at the heart of what's happening here (and the
Beatles at the root). If you're used to listening to shiny digital
sound, my first suggestion here is that you turn up the volume on this
platter. Bass player Ben Lawless's 4-track cassette production is
brilliant, but it still sounds thin and murky if you don't boost the
output. Personally, I think a few bottles of Bass pale ale also helps a
It all kicks off with "Mercury and Cream," which sounds so much
like Big Star playing Eno's "Burning Airlines Give You So Much More."
Then the boys use a modified
"Sweet Jane" riff for "Highway," highlighted by excellent spazz-guitar
leads. This segues nicely into "Basketbakers," a tune filled with
delicious outta-kilter hooks. "The Bells" begins with flying saucer
whoosh, which quickly yields to a groovy pop riff and vocals with
the reverb turned up to 11. Just beautiful--it should already be at
the top of the hiss parade. Flip over the record and dig guitarist Rob
Parham's oh-too-brief "Pink Sangria," a nifty blend of Voidoid slither
rock and power pop. Then they pull out another "Sweet Jane"-like riff
for the intro to "Infinite Surprise," gliding right into a song filled
with the spirit of Midwestern pre-punk circa 1974. "The Lake" reminds
me of the Beau Brummels from their mature Bradley's Barn/Triangle
period. The Bon Vivants dangle that jangle better than anybody since at
least the 1980s (and I don't mean R.E.M.!). Ben Y. sez "The Mall Song"
influenced by Simply Saucer, and who am I to argue? But it's Simply
at their most concise. To my ears, it has that sweet Syd Barrett/Soft
thing that a lot of bands did so well in the 1970s--but not much since
How'd a band of noise lovers from Georgia get back and down to such an
unpretentious approach? Well, I think part of the "secret" is exactly
that the outsider improv mindset has once again embraced something
that's even more basic to American cultural consciousness: R&R. No
irony either. Everything old is new again, and you
can hear excitement in these grooves that mere retro rockers always
miss because they've spent too much time listening to
the same music. Ben Young, who also plays guitar and keyboards, has
an unpretentious vocal style with the same sort of mild Southern drawl
and slightly geeky whoop that once made Alex Chilton sound so special.
And he's aided by a fine band: Ben Lawless (bass, percussion, guitars),
Rob Parham (guitars), and Tim Genius (drums). Hey man, these guys
are for real, and not even slightly full of shit. How many rock bands
in 2006 can pull that off? Well . . . maybe more than a few years ago,
but it's still no mean feat. And speakin' of feets, let's roll the
rug off the floor and . . . I think you know the next part: boogie!
New Viking -- "War"/"Love" [Columbus Discount Records 7" single,
2005] Here's a very cool, unexpected thing from a young trio outa
Columbus, Ohio. "War"
has a wavering, liquid riff that sounds like a cross between two
different Roky Erickson songs ("Bermuda" and "Creature With the Atom
Brain"), but builds into something like post-punk--Mark E. Smith and
the Aliens?! Weird but totally bitchen--this makes so much (non)sense.
On the flip, though, is the killer: "Love" is built around a fabulous
grinding riff dominated by garage-rock organ and overloaded guitar.
Great lyrics too: "The summer won't be long/So let your hair grow
long." Dig the unison vocals--one "normal" voice, and one in a
panic-strangled yelp--nice touch. It's all "lovingly fucked with" by
Mike Rep, which means you get Rep's trademark tin-can
stone-buzz production. Just about perfect! These guys have a
album, but I haven't heard it.
Flamin' Groovies -- Grease [Skydog Records (Holland)
7" EP, 1973] The stuff above (Home Blitz, Bon Vivants, Times New
Viking) somehow reminded me of this record. I got it in '74, about a
year after it was released. The murky sound quality kinda threw me at
record consists of rehearsal tapes, not professional recordings, and it
sounded weird to my 16-year-old ears. I was used to the bad sound
of live bootlegs, but this had a different vibe--loud yet distant, the
vocals almost buried, strangely exciting. Now it's easy to hear that
they're in a crappy rehearsal studio with a bad P.A., and that it's
not a bad recording for what might have been a cassette deck. I figured
out the secret to listening to this record not long after I got it:
turn up the volume! And it still sounds exciting! The EP consists
recordings by the short-lived '72/'73 Detroit-style version of the
Groovies. I remember right after Chris Wilson replaced Ron Loney as
there were fanzine rumors that the Groovies had changed their name to
the Dogs. I'm not sure if there was really talk of a name change, but
the first side of this platter sure sounds right for a band called the
Dogs. "Let Me Rock" is an amazing MC5/Stones/Beatles combination! Great
riff, great heavy bass, great slide guitar, great rockin' greatness!
then "Dog Meat"! Doesn't that title just scream Stooges!? And indeed,
it has a Stooges/Chuck Berry thing going on--a monotonous, throbbing
hammers away while an ancient R&B lick sails on top. Plus some
The B-side is not as revelatory, but is still pretty boss. They do
Berry's "Sweet Little Rock 'n Roller," again mixing MC5 high energy and
Beatles pop. Finally, there's a kill version of their anti-junk anthem
"Slow Death" (studio version released on English UA in '72). Grease
was one of those early 70s records that hinted at something
so-called punk-rock in its formative stage. Or you know, just R&R
one of its many, many stages of re-development and re-vital-i-zation
the more recent records above).
-- . . . Things from Inside Your Body [Black Velvet Fuckere
Recordings CDR, 2006 pre-release of material recorded 1993-1995] Wanna
hear some hot shit? Here's some hot shit. It's from more than a decade
ago, and it's still steamin'! These recordings were done by a guitarist
and drummer from Bloomington, Indiana, in the mid-90s. I can't find
their names on this CDR I was sent, although the type is so small I
might've missed 'em. Jackwacker used the basic Harry Pussy approach to
create some pretty incredible sounds. They actually had more "chops"
than Harry Pussy, though, so they often sound closer to the
bass-and-drums duo Ruins, or a very stripped-down version of early
MX-80. This album contains 18 bursts of Jackwacker. What's it sound
like? Um . . . 1982 HC crossed w/ Trout Mask Replica, white-hot
lava-blues, post-everything destructo-rock, yelpin' speedcore, the
Ramones forced to tango with Napalm Death, beyond-rock raw tongues and
incineration, Bo Diddley Is A Shredding Machine, pummel 'n shriek, Slayer as a
Midwestern art-rock duo, freedom - - - ROCK! (This is due for LP
release on November 1.)
City Girls -- Montreal Pop [no label LP, 2005] Wow, this "bootleg"
of a 2004 Canadian radio broadcast is already
one of my favorite SCG records! It has a nice blend of wild sounds
and bizarre humor, performed in front of an enthusiastic, sometimes
confrontational audience. It opens with a lengthy, inspired rant/jam
called "21st Century International." Then we get a scrambled mix of
three darkly comedic tunes: "Six Kids of Mine" (a guide to killing your
offspring!), Charles Gocher's "Man Destroys the Things he Loves," and
"Aristocrats of Impertinence." The latter ends with a long section of
SCG musical improv at its highest--who is that on the sax?! Then a
version of Rick Bishop's classic instrumental "Abydos," in all its
Eastern/surfadelic glory. Flip the LP for a pretty straight cover of
1973 R&B hit "Natural High"! After that tune ends, there's an
with an audience member. Alan Bishop: "He just called me a half-nigger,
motherfucker. I'm a sand-nigger, all right? Let's get that straight
right now. . . . Sand-nigger's where it's at right now--public enemy
one. . . . Don't fuck with us, baby. It's not over till the skinny Arab
lights the fuse." Then, as if to prove some point, they do a
just swell li'l medley of "My Painted Tomb" (muddy desert music) and
Duke Ellington's "Caravan" (crusty river music--slow burnin' with
added angles). "Cafe Batik" features Alan Bishop's
thing. And it all ends with the incredible "Without Compare," a highly
structured composition that has room built in for rant and jam.
Sun City Girls -- Carnival Folklore Resurrection 14:
Static from the Outside Set [Abduction
2006] The three-headed beast known as Sun City Girls raided its
vast archives for a 2005 edition of the English radio show On the
Wire. This disc is that hour of wild music, strange thoughts, and
radio disruption--29 selections of total (in)sanity. The music covers
a wide range of SCG approaches: angular guitar freak-out, straight-up
jazz, Rick Bishop rippin' it up Django-style, performances that
Balinese music and other ethnic sounds from 'round the globe. There's
also a disturbing monologue on human sacrifice, a Dogon limerick, a
50s-beatnik radio show called "Lester's Dictionary" with word
definitions ("Arson: Christian incense"), a series of radio-dialin'
"Radio Neocon," and lots more. Plus they do three covers: Brian
"Summer Dream" (kinda touching!), Lambert Hendricks & Ross's "Gimme
That Wine" (is this based on the Blood Sweat & Tears version?! very
goofy!), and a cool take on Paul
Giovanni's version of "Gently Johnny" from The Wicker Man.
City Girls -- Djinn Funnel [Nashazphone (Egypt/Algeria) LP,
2006 release of recordings from 1999-2001] This mostly instrumental LP
has the same sort of tripped-out quality as most of their Majora stuff
the 90s. If anything, though, this seems more ferociously focused than
their recordings from 15 years ago. The LP begins with "Nites of
Malta," a totally bitchen Krautrock boogie with big bass pulse,
cave-echo vocal screech,
groovin' drums, and guitar that occasionally spirals outward. "Dukun
Degeneration" opens with just the sweetest bit of guitar wah, leading
into a "typical" SCG instrumental. On "Dark Nectar," the trio plunges
into the depths, and they don't return for the rest of the
album. Flip over the platter
. . . "Red Sea Blues" sounds very relaxed, finely zoned, truly
psychedelic. "Grand Trunk" has a simlar mood, but thing are darker.
Voices enter singing chanting ominous erotic. Charles Gocher's drums
lope. Alan Bishop's bass throbs. And here comes Rick Bishop--guitar
slowly blooming, shining in the darkness. Yeah, everything's still
melting. Heh . . .
Sun Ra & The Blues Project
-- Batman and Robin [Universe Records LP, 2001
reissue of an LP originally released by Tifton Records in 1966]
released at the height of Batmania as being by the Sensational Guitars
of Dan & Dale, this was really anonymous session work for the
group of Sun Ra (Hammond B-3 organ) with Arkestra members John Gilmore
(tenor sax), Marshall Allen (alto sax), and Pat Patrick (bass) joined
by Al Kooper (organ), Danny Kalb (lead guitar), Steve Katz (guitar),
Kulberg (bass), and Roy Blumenfeld (drums) a.k.a. the Blues Project!
if that's not weird enough, it's produced by the legendary Tom Wilson
(Dylan, Zappa, Velvet Underground, etc.). Wilson would have also been
the link between the Arkestra and the Blues Project, because he had
with both. The results are loose, fun, and exciting in an odd way. They
do the obligatory version of Neal Hefti's theme from Batman,
but the rest of the tracks are obviously ad-lib compositions done in
studio. The style is roughly fake go-go music--the kind of thing you
indeed hear in the background of Batman or at least a
teen movie. It's interesting to hear Ra playing like an inspired lounge
organist! Most of the material is pretty generic, although always fun.
"Batman and Robin Over the Roofs" is one of the better tracks, clocking
in at almost seven minutes (strange for an album that would have been
bought by kids). It's a tuff R&B/jazz choogler with ragin' guitar
Danny Kalb and a cool organ solo by Sun Ra. "Joker Is Wild" uses a
echo-drenched harmonica to drive a jam that seems custom made for hot
chicks dancin' in cages! There's a sexy, gritty black female vocal on
Theme"--wonder if that's Arkestra singer June Tyson. Not to forget
and Robin Swing" (!), "Penguin's Umbrella," "The Bat Cave," "The
Jan & Dean Meet Batman [Liberty Records LP, 1966] This is one
strangest records released by a major rock act in the 60s. With surf
and hot rods fading, Jan & Dean were desperate to find a new
pop-culture vehicle, so they hopped on the Batman craze in that
wonderful year of 1966. Yes, they do a version of Neal Hefti's TV
theme, and write a few Batman-themed songs themselves. But they take it
one step further. In between the songs are comedy sketches with the duo
as Captain Jan & Dean the Boy Blunder--short radio-style plays with
elaborate, often whacky sound effects and background music. In their
"secret identities," the crime fighters are, yes, pop-singers Jan &
Dean. They're granted their super powers by the Little Old Lady from
Pasadena, who seems to be a strange sort of fairy godmother. The "titanic
twosome" fight super villains like Garbageman and Fireman. The humor
sophomoric--it's infantile! There are bad puns, stupid ideas, silly
and a general buzzed sense of the absurd. As for the music, there are
and instrumentals, mostly pretty disposable but not bad. I do like
original "Batman," which tells the literal story of the super hero,
quotes from the comic-book origin story. "I don't know who he is behind
that mask/But we need him, and we need him now!"
[Atlantic Records LP, 1975] ABBA's self-titled second
album sealed their status as full-blown gods and goddesses of
international MOR pop and bleached-out disco. Although what came after
was mostly bland even beyond the attention
of this white guy, the album in question is, how ya say, fabulous! Most
of the obvious 60-isms that made their first album Waterloo so
wonderful are gone. But we get something almost as tasty: wide-eyed pop
decadence . . . the chilly-yet-moist aural thighs of a
nooner in Stockholm. Just look at the cover: you can almost hear the
rustle of stockinged-legs moving against one another. "SOS" and "Mamma
Mia" are slices of top-forty heaven--perfect in their mid-70s
way--beautiful dreck. But Bjorn and Benny did still
have a couple of bubblegum tricks left in their bag: "Hey, Hey Helen,"
which mixes in some Stevie Wonder funk, and especially
The latter is just about my favorite ABBA track: late-60s bubblegum
crossed with Shirley & Company's early disco classic "Shame Shame
Shame." The ABBAs still had a little room left for guitar-heavy
too. "Rock Me" does it Elton style, while the closing "scorcher" is
a Suzi Quatro-ish thing called "So Long." With its slinky marriage of girl
group and disco grind, "I Do, I Do, I Do, I Do, I Do"
would've been great as the theme to a 70s porno starring Gloria Leonard
and Candy Samples. And "I've Been Waiting for You" could've been the
theme for the romantic three-way! Um, anyway . . .
just to let you know things are starting to go wrong, they throw
in some real clunkers: "Tropical Loveland" (sounds as bad as the
title), "Man in the Middle" (anti-capitalist guilt from rich pop
stars), and "Intermezzo No. 1," an instrumental "featuring Benny
Andersson" that sounds as bad as Zappa in the mid-70s!
Brown -- Sho Is Funky Down Here [King Records LP, 1971] JB "plays
and directs the James Brown Band" through six loose, funky,
instrumental heavy-guitar jams. The title track is a heavy-riffing slow
blues with fuzz guitar and JB's clavinet playing freely on top. It's
not too far from Maggot Brain-era
Funkadelic. "Don't Mind" is a Sly/Hendrix-influenced funk-rocker with
spaced-out guitar strained through a Leslie speaker. "Just Enough Room
for Storage" could easily be from the soundtrack to a biker flick--a
mid-tempo rocker with double distorto leads on the break. There's lots
more heavy riffin' throughout the album, with fuzz guitars that
already sounded "dated" by '71, and occasional bursts of keyboard funk
Mr. Brown himself.
Jay -- Tommy Jay's Tall Tales of Trauma [Orange Entropy Records
CDR, 2001] Tommy Jay plays drums
with Mike Rep & the Quotas, and this disc is steeped in the
same sort of Midwestern proto-punk vibe that permeates everything from
the Rep universe. But this is different too. It has an unpretentious
small-town folk-psych vibe--really tall tales of dark humor and giddy
weariness that makes it come across like a Midwestern version of Lou
Reed's Street Hassle. Things are generally stripped down--lots
of acoustic guitars, recorders and autoharps, folkie percussion--and
kinda pretty in a kinda ugly way! "Tough Luck Roy," the first of the
tall tales, is about a murderer who's rotting behind bars. "Village
Idiot," which appeared in a more revved-up version on the Quotas' Black
Hole Rock, is another tale of a two-bit loser: "He thinks he's a
small-town marauder/But right now I'm all strung out on blotter/And I
ain't thinkin' the way I oughta." And Tommy tackles a big-time loser on
"Old Hemmingway" (co-writ by Mike Rep): "Old Hem . . . shooting sharks
with a machine gun." Mr. Jay manages to turn the simple act of getting
out of bed into another mini-drama: "Little black jelly bean and
several cups of caffeine . . . I take a quick
peak at the latest Penthouse spread." Then he rolls
out of bed in the afternoon and heads for the bar! Like a lot of
the stuff here, the Velvets loom large, albeit it in a middle-Amerikan
hetero sorta way. As if to prove the point, there's a great
echo-drenched cover of the VU's "The Ocean." And there are a
bunch more tracks of equal quality. Real nice stuff here.
performing "Woman" on the late-night talk show circuit: David
Letterman / Jimmy Kimmel / Carson Daley / Conan O'Brien
/ Jay Leno. This is definitely my favorite one-hit wonder of the
recent moment. The young Australian trio did the same
song on every show. It's a perfect blend of Electric Warrior
T. Rex, Sabbath riffs, '72 Deep Purple-isms, and Troggs-like
grunt-lust. Unfortunately, the other songs I've heard are pretty
bland, and often veer towards the "classic rock" of post-Barrett Pink
Floyd and other non-heavy 70s snooze.
FAVES AT YOUTUBE.COM
The Collins Kids "Rock Boppin' Baby" and "High School Confidential"
live 1958 on Town Hall Party. Two different clips. My heart
skips a beat when I hear Laurie sangin', "Open up, honey, it's your
lover girl me who's knockin'!"
Wanda Jackson "Rock Your Baby" live 1958 on Town Hall Party.
Louis Jordan "Let the Good Times Roll" movie clip
from the 1940s.
MC5 "Ramblin' Rose" from a live show broadcast on Detroit Tube
Works 1970. This is from the same outdoor gig used for the
performance of "Looking at You" in A True Testimonial. Full
song, kickin' hard--is the
entire show in the can somewhere?
The Saints "I'm Stranded" 1976 video.
Wyatt "I'm a Believer" Top of the Pops 1974.
Creation live TV appearance 1966. Holy crap! 8:30 of the Creation
in their prime!
Fear from The Decline of Western Civilization.
I hadn't seen this shit in 20+ years.
Labelle "Won't Get Fooled Again" 1972 TV show.
Yeah, Patti and the ladies do the Who!
Perkins / Johnny Cash / Derek & the Dominoes on The Johnny
Cash Show 1970. Clapton and company do "It's Too Late." Cool. Then
Carl Perkins and Johnny Cash join the party for "Matchbox." Way cooler!
I remember seeing this as
a kid. It was one of those things that made me start to realize the
original American shit was THE shit--Carl Perkins kicks Clapton's ass!
& Johnny Cash
on The Johnny Cash Show 1969. J.C. starts out with a bit
of the Monkees' '66 hit "Last Train to Clarksville," which is then
taken up by Mike, Micky, and Davy with just Mike on acoustic guitar.
They break down quickly, and then
go into a live acoustic version of Mike's "Nine Time Blues," showing
that these dudes really could make it happen (on occasion)
without studio musicians behind them. Then Johnny joins the boys for
a suitably silly version of J.C.'s own '66 hit "Everybody Loves a
Nut" ("The whole world loves a weirdo").
Joe White &
Johnny Cash "Polk Salad Annie" live on The Johnny Cash Show
Tony Joe White "Lustful Earl and the Married Woman"
TV appearance circa 1972.
Crabby Appleton "Go Back" 1970 lip-sync from some
TV show. Fuckin' real weird seeing this band after listening to them
since the mid-70s. One of THE perfect pre-power pop jams from Michael
Fennelly and the boys--kinda like Badfinger meets the MC5!
The Buzzcocks "Ever Fallen in Love?" live at Lesser
Free Trade Hall
6/78. My favorite Buzzcocks tune!
* * *
SLIPPY TOWN TIMES online #2:
Blitz Interview by Tony Rettman
Music I Dig
Movies I Dig
FROM THE ARCHIVES:
Gulcher #0 (1975) online
SLIPPY TOWN TIMES online #1