So the Dickies were the first of the Masque-era Los Angeles punk bands to hit the UK followed by the Go-Go's the following year. And although Alice Bag's memoir may be the superior read, you could do a lot worse than the excellent first half of Belinda Carlisle's memoir Lips Unsealed for some debauched tales of the era. I digress. The Saints were among the first to show the Brits how it was done, after the Ramones of course, and shared the stage with them as well in the UK. I am reminded of Dylan in No Direction Home trying to divine where all those early songs came from. Do Chris Bailey and Ed Kuepper wonder the same thing? Dylan and the Ramones where living in one of the most culturally rich cities in the world surrounded by scenes which offered early support. The Saints incredibly created some of the 1970’s most perfect music while in Brisbane. Anyone who has not heard The Most Primitive Band in the World which dates from 1974 really needs to do some backpedaling. While Brisbane 1973-74 was not like the backwater portrayed in the seminal Australian film Wake in Fright (which each and every reader of this site needs to see), it was close enough which makes the foundling Saints’ achievement even that much more incredible. These were not kids hanging out at the Riot House, seeing Iggy crawling on the sidewalk on the Sunset Strip, or camping outside Freddie Mercury’s hotel room and then forming a band. As I have said before, one of the truly unacknowledged cultural movers and shakers of the last half century is named Lenny Kaye. It was his Nuggets comp that hit Brisbane in 1974 - two years late you may note - (along with the contempo Dolls, Stooges, MC5, various 50's greats, the Missing Links etc) that powered this earth shattering music. Proof that record nerds who are fine musicians can change the cultural world, no? Anyway, here you have the review that changed the game, and an interesting video curio. My old pal Maxwell in LA is who hipped me to the original Saint on telly. So it makes total sense that the actual Saints who by then had decamped to the UK make an appearance on the Return of the Saint show in 1978. In the same year, and it is buried back in my subconscious that I saw it at the time it was broadcast (along with Joe Namath’s short lived Waverly Wafers), the Dickies appeared on Don Rickles’ CPO Sharkey AND the Germs got their first name check on national US television. Check it all out below.
Now this is the kind of thing that I would screen if I was given an IMAX theater with a bar:
Monday, January 16, 2017
Friday, January 13, 2017
Lemming "Father John," "Queen Jacula"and "Lucifera"/"Don't Look Behind (Trampa macabre) (repost January 2014)
One of my favorite contemporary video pieces that I saw in Mexico City back in January (2014), at the show "La voluntad de la piedra" at el Museo de Arte Carrillo Gil, was "Don’t look behind (Trampa macabra"), Leo Marz's giallo-inspired, critical exegis of terror (or is it curatorial horror given the Mexican art world cameos). I doubt Leo is familiar with most excellent Dutch glam rockers Lemming but I think he would like the low budget Argento/Suspiria vibe that their Dutch television performances from 1974 to 1975 reek of: the essential "Father John" (about a monk!) and "Queen Jacula." And I will posit it here first. Is not Lemming's great dancer in these clips, Lucifera (RIP), the continent's low budget glam answer to Stacia? Thanks to Robin for originally introducing me to the greatness of Lemming back in 2006.
Marz's full piece is now
Marz's full piece is now
Monday, January 9, 2017
I have a distinct memory from the late 1970’s of flipping through copies of New West magazine (we must have briefly had a subscription). Los Angeles magazine already existed (and was almost purchased by the New Yorker). But New West for those that don’t know was an attempt by the Rupert Murdoch-owned New York magazine to break into the Los Angeles/California market with a California-centric take of new journalism mixed with the cultural and political coverage found in its east coast brethren. New West was launched before the bicentennial, hitting the stands on 12 April 1976. However, what I didn’t know until stumbling onto a stack of New West in a thrift store about 25 years ago (and currently residing in the barn) was that the Masque and LA punk was presented to suburban Los Angelenos and San Franciscans in non-sensationalist manner. In addition, it turns out that the article (which is spot on and could have been written today) was written by none other than the screenwriter of the Waitakere Walks favourite Over the Edge, Charlie Haas. In fact the music sensibility of Over the Edge is made even more clear by this great write-up on the Masque, and was not some random music supervisor's choice. Photo of Chloe Pappas, stylist of the Screamers was taken by Matthew Rolston, likely still a student at that time at Art Center in Pasadena and Interview magazine photographer. Who knows if Rolston has a large set of yet unseen Screamers and Masque-era photos. A second Masque coffeetable book may need to appear. In any event, enjoy this slice of late January 1978, and hopefully it will change your perception that the Masque was limited to the pages of Slash, Flipside, Search and Destroy and Lobotomy. The LA Times via an old fave Kristine Mckenna did shine a light but no thanks to the likes of the other staffers (Go-Go's classis "Robert Hilburn" anyone? but who knew that it made it to the pages of glossy magazines. "You don't love me/You love magazines/Those glossy pages they go to your head"
Thursday, December 22, 2016
Along the brother line, the last and only time I saw the Sun City Girls (with Six Organs on the bill) with my pal Joseph in Hollywood was truly a masterclass in rock trio dynamics. It is cliché to say that the brothers have a telepathic connection but that night propelled by the monster drumming of the much missed Charles Gocher, the room levitated. In my opinion (at least this week), the most important and influential band to evolve out of US hardcore, a point which only took 30 years to manifest itself to the masses (though Forced Exposure had kinda nailed it as early as 1987), led by brothers Rick and Alan Bishop. Funeral Mariachi is the saddest lp of the past decade hands down.
But sibling rock (though I know all genres have their long lists) really is in a class unto itself and my bookshelf is filled with critical breakdowns more heavily weighted to this class than any other: Ron and Scott Asheton, Kris and Kurt Kirkwood, Karen and Richard Carpenter, Nancy, Suzi and Patti Quatro, Phil and Don Everly, John and Dix Denney, the Bishops, Jeff and Steven McDonald, the Barrett Brothers Helen, Betty and Dot Wiggin, Solomon and Jay Gruberger, Angus and Malcolm Young, the Cowsills, Chip and Tony Kinman, David and Hamish Kilgour, Frank and Rick Agnew, Ann and Nancy Wilson, David Sylvain (Sylvain) and Steve (Jo) Jansen, the Jacksons, Epic Soundtracks and Nikki Sudden, Johnny and Ronnie Van Zant, Kim and Kelley Deal, Ray and Dave Davies, the aforementioned Allmans Brothers, Vicki and Debbi Petersen, Rich and Chris Robinson, Liam and Noel Gallagher, Tom and John Fogerty, Ernie, Ron and Rudolph Isley and Tim and Sean Presley. Do the Bradys and Partidges even count – they do in my book insofar as a simulacrum of the real thing.
A few years back I had been obsessed with Jay and Solomon Gruberger – not only their music with O Rex and that first Afrika Corps lp, but particularly with their music writing that I could lay my hands on. Their odd competitiveness in each having their own fanzine sold me. Such an obsession had already happened last century for me with my lifelong obsession/love of the music and very idea of the Bee Gees and the Beach Boys. Not sure if the Grubergers would have liked to be in such company given the lack of heaviness such as heard in their beloved Mountain. The Bee Gees and Beach Boys though are really their own category. It is three brothers dynamic that Brian Wilson speaks to in his “spiritual love in music” intro to the Gibbs. Take a look at Brian Wilson’s induction of the Gibb Brothers and tell me there is anyone else who really grasps that dynamic as much as Brian Wilson – it is very similar to that telepathic twin dynamic. I rewatched that heartfelt induction recently (having taped it live on videotape when first broadcast and forgotten about the JT cameo) which put me on to thinking about sibling rock and watching the CCR induction again as well minus Tom Fogerty. Is the animus between Tom and John any less heated than between Pettibon and Greg? Sure there are lots to add to the list so go ahead.
Tuesday, May 3, 2016
So when somebody decides to release another cover record of the “Great American Songbook” we all know its fraudulent nature from the get go when the likes of this Pop/Williamson composition is not in there. A nausea inducing cover to those partial to the Gulcher/Gizmos/MX-80 crew Weltanschauung, to me it sounds like JCM's very Jobriath-y influenced interpretation. Did Mainman still have some interest in the publishing rights to have JCM record this? Weary of the waltz and mashed potato schmaltz? Look no further! At last someone has made this recording easy to share so I don’t have to tear up the barn looking for it. Recorded in 1975 (!!), lp released in 1976, only to appear as a 1998 CD bonus track:
Wednesday, March 9, 2016
A great KRTH or KRLA oldies blast – FM or AM take yer pick. I really dig this early 70’s take on Christie's own 1966 hit. From Lou’s Jemaine Clement-Gentlemen Broncos/Gene Clark 1965/Carl Wilson look (ALL DENIM!) to the great backing band and singers, this moves from the Four Seasons’ falsetto to windows down, sun out, got my RADIO ON, Wall-o-Sound, Beach Boys bliss.: The Jan & Dean take from 1966's great Filet of Soul amps up the Spector sound another notch: Now, how could I not know that Mike Love and Dean Torrence actually covered Jan & Dean covering Lou Christie – even better with a pseudo KRTH bumper. Inspired by Klaus Nomi's underground hit cover? Did Kip Brown play this at Moby Disc over the in store speakers which has subconsciously seeped into my 1983 head? From the Love and Dean Torrence cassette only (? Grady?), Radio Shack exclusive album Rock 'N' Roll City):
Sunday, February 28, 2016
Unfortunately, the entire Roxy Music "Full House" performance from 25 November 1972 has not appeared in one piece. October 1972 has the group wait out while Ferry has a tonsillectomy, and December 1972 has Roxy in the US opening for the J. Geils Band, Humble Pie, Ten Years After, the Steve Miller Band, Edgar Winter, Jo Jo Gunne, the Allman Brothers and Dr. John the Night Tripper. I actually think in retrospect some of these pairings make a lot of sense, not sure how the crowd at the Miami Speedway would have treated Eno though. In between, we get Full House at the BBC studios in London. The clip below of "For Your Pleasure" with the unsynced sound comes from the 2007 collection The Thrill of It All: A Visual History 1972-1982 where it is synched (enjoy the screen grab). The review of For Your Pleasure in Rolling Stone amusingly noted: "The title tune ends the album, but is it a tune? It sounds like dogs barking repetitively for minutes on end. Maybe it is Eno's genius at work, but if so you've gotta be Mensa level to understand him or be so stoned you still think the drum solo on "In-a-Gadda-da-Vida" is a tour de force." Uh, I kinda take offense as I like Ron Bushy's solo on the lp version. "For Your Pleasure" is a concise statement of where the band was at - can you name another Krautrock-inspired art pop track that clocks in at around three minutes. There is a time coded clip from Full House in circulation as well but is incomplete. The BBC will likely unearth the whole session for one of its extra channels in the near future but until then . . .