Buck Dharma joined by Neal Smith and Dennis Dunaway: "Born to Rock" (1982)

Recently revisited Donald “Buck Dharma” Roeser’s solo lp Flat Out. Funded in the wake of "Burnin' for You"'s success? The last time I saw Buck was with BOC in Isla Vista in the late 80’s. Such a sweet, recognizable guitar tone. On Flat Out Buck is credited with playing all “instruments, effects and noises.” On “Born to Rock" however Buck is joined by Alice Cooper Band greats Neal Smith and Dennis Dunaway on bass and drums. Great track and those lyrics! “Your Loving Heart”: sound effects and six plus minutes with a solo in the second half right out of “Godzilla,” which in sum reminds me vaguely of Ariel Pink/Gary Wilson (in a good way). Best heart transplant song outside of Ray Steven's 1974 "Heart Transplant"? Then you have the R. Meltzer penned "Wind Weather and Storm" which is not yer mother's VOM. I had no idea that videos were made for the lp until this week. "Mad Max" meets Tom Petty's "You Got Lucky" fer starters and the overall emotional tenor of the video "Yer Loving Heart" is worth a watch.
 

So Kickboy, How Do You Really Feel About VOM/"Some of you are very clever people"/"It was reaching terminal boredom proportions"

Richard Meltzer and Kickboy Face aka Claude Bessy. Both born in 1945 (May 11 and June 20 respectively) and among the select group of music writers whose work transcends the genre. Both based in Los Angeles during a golden age of American music (approximately 1976-1983) and both with pretensions to act as rock frontpersons in their thirties (not that there is anything to fault with that). So who knew that the Metal Mike/Brendan Mullen spat dates back to at least 1978? I have previously written about it here. It's like Bessy drafted Mullen's talking points a couple of decades in advance. In the present day I like both Catholic Discipline and VOM, though given Catholic Discipline's VU/Can/Nuggets hybrid it would have produced one of the finer lps to come out of post-Masque/pre-hardcore Los Angeles if someone had dragged them into a studio. One could assume that Meltzer felt no animosity to Bessy by 1979 (see "Cocktails With Claude," LA Weekly 1979 interview of Claude by Meltzer, Meltzer’s review of the Germs “G.I.”). What Bessy writes is really about more than VOM. What were his thoughts on the Dictators fer instance - did they get a pass even though a writer was in their midst? Mind you Chris D. and Ranking Jeffrey were on the Slash staff.  How harsh is this: "they couldn't be naive enough to think that even on the fringe of that fringe phenomenon there is room for a bunch of would-be satirists with resentment and bitterness in their hearts, pot bellies behind their their tattered stage costumes and panic at their sudden irrelevance behind their contrived aggressiveness. They couldn't be vain enough to hope that the punx might fall for it and actually (irony of irony) make them into heroes or villains." No really Kickboy, how do you feel about VOM? An hey, enough with the slams of would-be satirists with resentment and bitterness in their hearts, and pot bellies behind their their tattered stage costumes and panic at their sudden irrelevance behind their contrived aggressiveness. Hitting a little too close to home buddy!

Over to Metal Mike in his attack on Mullen and Spitz' We Got the Neutron Bomb : The Untold Story of L.A. Punk:

Not once in this book is there a mention of the March 1978 Dickies/VOM 2-night, 4-sets stand at the Whiskey, which was one of the wildest,craziest, most chaotic spectacles of "punk rock," anyplace, anywhere, anytime. Re: Paul Grant's 2-page article describing the opening night show in national slick-mag NEW WAVE ROCK...I was there (at the Whiskey), it was that hysterical/nutty/wild and then some. Never laughed so hard in my life. Ah, wait, wait, wait, back up the truck-there is no mention of 1977-78 LA punk band VOM (with rock critic and brilliant Blue Oyster Cult lyricist Richard Meltzer) anywhere in this book.Now this is getting interesting. 

Uh, "wildest,craziest, most chaotic spectacles of "punk rock," anyplace, anywhere, anytime." Are we talking about the same set of shows here?

Saturday Night Pogo 1978 KROQ Radio Ad/Radio Free Hollywood/The Berlin Brats 1976/Rhymes With Seltzer [Repost]

Is Richard Meltzer embarassed by the 1978 Saturday Night Pogo cover? As a teenager, I was embarrassed by the image. Meltzer was 33 years old when he posed for the cover. At 34, he lionized the Germs (GI) lp in a rave Los Angeles Times review which demonstrated he hadn't lost all his marbles. In fact, it is among his best reviews of albums he actually listened to. Courtesy of Dr. Riff Buttons, you get to hear the LA radio ad for the lp plus some added Rodney bumper commentary:



The Saturday Night Pogo lp would seem to be a b-team of the LA punk era, right? Well yes and no. The Radio Free Hollywood crowd never really got their due with all the revisionist history of what constitutes year zero of LA punk. I agree it is no "Tooth & Nail" or "Yes LA" but there are some shining moments. Who among the best of the old guard Hollywood punks pre-Masque have not gotten their due? Well, let's see. The Droogs are from the Valley (and worthy of their own post) and the Dogs are originally from Detroit. So I guess that would leave Saturday Night Pogo stars, the Berlin Brats. Rubin Fiberglass and I would both agree going back to our Santa Cruz days, that "Tropically Hot" off that lp and the 45 are among the great unsung Dolls/trashy songs you never heard. At Waitakere Walks, that sort of thing is our bread and butter. Both the A and B side of the 45 are among the best pre-hardcore punk 45s to emerge from Los Angeles - that is if you like the Dolls, Stones, early rock n' roll etc. A battle royale of Clap, the Berlin Brats and the Imperial Dogs could get pretty bloody (Daddy Maxfield had already split the scene). As a pre-teen, the fact that the Berlin Brats were in "Up in Smoke" did not register. The Dils later did, but I swear, so brief is the appearance of the Berlin Brats that it is missed if you so much as sneeze. Just as memorable may be the image of Rodney with his glam mullet wearing a Sex Pistols shirt at the side of the stage with Cheech Marin. I wish Fowley had made the cut. Somebody get Lou Adler on the line so we can get the full footage released!! Here is all there is:



Here is the great 45 of Tropically Hot/Psychotic:






What has been a real revelation at headquarters are the 1976 Berlin Brats demos and some live shows of the same era. Here is the demo of "Tropically Hot" slowed down with some very sweet acoustic overdubs, the great "Do I Love You Today" and a live cover of the Animals "It's My Life" from Hollywood 1976 - we need the 180 gram pressing of this stuff:







Back to Saturday Night Pogo, here is a clip of VOM at Malibu Beach (?) performing their track from the lp. Meltzer does undo some of the damage from the lp cover here and we do love Gregg Turner's vocals which he used to great effect in his next project:



Addendum: anyone know of how to get in touch with Dr. Riff Buttons?

Claude Bessy Sings the Beatles

As a follow-up to the recent post on Claude Bessy, some additional pieces for Bessyologists are floating around the web.

The first Bessy clip is a sort of stop gap from the time window post-Masque and prior to Jimmie "Original Tap Dancing Kid" Spheeris little sister's "Decline of Western Civilization." From a 1980 Showtime program entitled “What’s Up America,” you get Claude briefly in his sartotial splendor. Not only that, but you also get a brief soundbite from R. Meltzer. Also on board are the Angry Samoans, Phranc, the Chiefs, Suburban Lawns and the Dickies among others. More non-Decline footage from Blackies as well as the OC's "Nu-Beams" (looking like the cover of the first Tin Huey 45).





Joe Carducci, author of arguably the best post-Meltzer book on rock music in the past 25 years, the essential "Rock and the Pop Narcotic" (Redoubt, 1st ed.; 2.13.61, 2nd ed.) (also known as the Bible in this household - ed.), has pointed out on the New Vulgate site that you can see the Claude Bessy/Paul Williams Hardy Boys appearances on youtube. For your ease, watch part of it below. Worth following all the parts with Paul Williams and Claude - the first clip has Claude as part of the band "Circus" singing "White Album" Beatles acapella in the back of a VW microbus (at around 3:30 and following):

Now, while someone has uploaded portions of the lifestyle show that captured the Weirdos live at the Masque in early 1978, what they haven’t uploaded is the portion where the leisure suited host interviews Claude off camera and where Claude rightly predicts - and is resigned to the fact that - the magic of the spectacle being flimed (incl. Bobby Pyn, Carla Maddog, Terry Graham and Wiedlin acting like swooning teenagers before the Denney's), i.e., the whole Hollywood, post-glam, somewhat older Masque scene would be over in six months. It took slightly longer for the jocks to glom on to Black Flag, but Claude was a pretty fucking astute observer and it was over soon enough. We cant hold it against the entire old-Hollywood guard for the the SST-booking ban in Hollywood can we? If someone puts that up, I can get those posted here. I may also periodically start posting some of Claude’s features and reviews from Slash for scholarship purposes and to start a dialogue on his work. Does anyone have any copies of Claude's 1973 reggae zine "Angeleno Dread" so that we can read that?

Now this one is pretty unpalatable given the various music that Claude himself championed just years earlier. That said, would Claude have gone to the epic SST "The Tour" that hit UCLA in the summer of '84? I am not so sure of that either. As Spira and Long's lyrics detailed, "Reagan's In," and by that time Claude bailed LA.

Shaun Cassidy, Claude Bessy and Philip K. Dick/Fly Jefferson Airplane/Easy on Paul Williams

A couple of random facts about the late, great Claude Bessy. Claude Bessy's first acid trip was seeing the Jefferson Airplane in 1967 ("Cocktails With Claude," LA Weekly 1979 interview w/ R. Meltzer). Second fact: there was a late 70's meeting(s) between Claude and P.K. Dick with Germs manager Nicole Panter and artist Gary Panter at Dick's Orange County home, with photographic evidence that ranks up there with the great 70's photos including the Nixon/Elvis photograph and Iggy Stooge and Robert Plant c. 1973. Third, Claude had a recurring cameo on the Hardy Boys tv show playing bad boy rocker "Frenchie" (hey Claude - easy on Paul Williams there!)


Seeing Claude 20 feet high with fucked teeth spewing his rock philosophy (and with Catholic Discipline - get that great Artifix cd) - at the Sherman Theater (RIP) in Sherman Oaks during the spring 1981 original theatrical run of the Decline of Western Civilization was one of the more indelible memories of my pre-teen years. Claude is clearly someone who needs both a compendium of his writing and a critical biography.


I had originally thought I would do a big write up on the Jefferson Airplane given how much time I had spent listening to everything up through "Bark" and live recordings up to that time as well. Figured out what Kantner was on about with Pooneil. Duh, he likes Fred Neil and A.A. Milne. I reread the Ralph J. Gleason 1969 paperback "The Jefferson Airplane and the San Francisco Sound" (Ballantine Books, New York, (1969), which reprints excerpts of his 1966 slam of the Velvets and the Tamarkin book (even the Slick autobio - did she actually type any of it?). Watched the great "Fly Jefferson Airplane" dvd. Godard and the pre-Let It Be NYC rooftop shoot was a revelation.



But in the end, I just think I was wrong to skip the records other than "Takes Off" and "Surrealistic Pillow" until now. Make no mistake, Skippy WAS really one of the creative forces in the band - they even cut his tunes after he left the band. I think I have to thank Haggerty for forcing me to stick it out through "Bark" via the cover of "Law Man." Those first six records - including the live one - have golden moments. Maybe hearing "Miracles" in the 70's so many times forced a reaction to shun them. Thank the Coen Brothers as well for inspiring a recontextualizing/revisitation of what those records meant at the time and Coley's PSF interview last year.



I always felt that Byron Coley was kidding when he wrote of Marty Balin's "crooning hambone essence," or referred to him like an "underground" version of Bob Hope. See Spin, Jan. 1993, Blue Light Special: Jefferson Airplane. After reading Jeff Tamarkin's book, I kinda felt sorry for the guy for having his band practically taken from him by a science fiction obsessed ego-maniac and a totally soused, limo liberal. I mean, the guy could have been considered an east coast pal of Meltzer at the height of the JA's creative and commercial peak circa '67-68. See Meltzer, R. "Marty Balin: Artist as Madman" (Rock, 1970). That said, I am deep enough in to keep an eye out for "Blows Against the Empire" and "Sunfighter" in the dollar bins. Here is JA at the Filmore '66 with Signe (looks like Dryden and not Skippy on drums) doing a number from "Takes Off," an lp that Meltzer I think correctly referred to as "post" folkrock:



Marty's lyrics are not Dylan's, but hey, the guy could write a great simple love song. For some reason, I think I had always steered clear of the band owing to the stench of the forced agitprop as well. But, like I have said before, "Volunteers" sounds great today and Jorma's Fahey-esque playing on "Embryonic Journey" on the Jerry Garcia coined title "Surrealistic Pillow" is near perfect.

Is the creative peak "After Bathing at Baxters"? George D. Henderson of the great and underrated NZ band the Puddle cites "Crown of Creation" as a top 10-er. I can imagine George having his mind blown in 1970 Invercargilll in his off time from the movie theater job. My vote for best Great Society cover is the Salvation Army's cover of "Grimly Forming." Here is the Grace Q&A from Hit Parader 1967.

"I've Always Thought the Stooges Were ok"/"Elitish Crapola"/Peter Crowley v. "The Dean"/Self-Designated Avant Garde Savior of Mankind

You all have read Meltzer's account of the trials of publishing "Dolphy Was Some 'Weird' Cat." Meltzer, Richard. A Whore Just Like the Rest. Cambridge: Da Capo 2000. How was Bob the editor of the Voice with opinions such as this from August 1973: "but like all theoretical hard rock, [The Stooges] music was accessible only in theory." Read on as it only gets worse or more cringe inducing. Wrong in oh so many ways on the Stooges that this one is more for the 2011 peanut gallery to laugh at. Great quotes though. Oh yeah Bob, I guess you didn't really grok Peter's other fave Von Lmo either. Time has shown that Crowley's taste was pretty classy and timeless. I guess you didn't ask him to contribute to Stranded. Roll on!

If Not Exactly a "Trips" Festival/Now Go Listen to Charlie Patton/"When Rock Implied Danger"

Richard Meltzer is going to be 65 this year. When the oracle chooses to write about music, one needs to pay close attention. Even his toss offs are great. Case in point is this column for the San Diego Reader from June 1999. Too late for inclusion in "A Whore Just Like the Rest," Richard still riffs on his favorite Doors, Monterey Pop versus Woodstock, the Byrds and the Association. He is a bit too harsh on the Monkees for my liking - their records have aged nicely. As Eddie Flowers has said (or a paraphrase as such): "Headquarters"= summer! Growing up those lps were some of the only "rock" lps in the house. But what the fuck do I know - I wasn't at Monterey. I came across this barn archival piece in connection with research on Meltzer's take on the Jefferson Airplane. According to Tamarkin's book, the Monkees' "Headquarters" was firmly lodged at Number 2 on the charts after the Beatles "Sgt. Pepper" in '67, thus keeping "Surrealistic Pillow" blocked permanently from the top spot. Though a no show at Monterey, Macca did head to SF in '67 and spent a day being shown around SF by Marty, Jack and Jorma, and also did acknowledge the incredible playing of Jack - did Jaco Pastorius copy prime Casady or what. Apparently, Jack jammed with Hendrix till dawn the night of Monterey whilst both were tripping. Meltzer where were you and Pearlman hanging out? Anyone sat through the entire Moneterey Pop Pennebaker dvd box set to report whether it is worth seeking out?

Saturday Night Pogo 1978 KROQ Radio Ad/Radio Free Hollywood/The Berlin Brats 1976/Rhymes With Seltzer

Is Richard Meltzer embarassed by the 1978 Saturday Night Pogo cover? As a teenager, I was embarrassed by the image. Meltzer was 33 years old when he posed for the cover. At 34, he lionized the Germs (GI) lp in a rave Los Angeles Times review which demonstrated he hadn't lost all his marbles. In fact, it is among his best reviews of albums he actually listened to. Courtesy of Dr. Riff Buttons, you get to hear the LA radio ad for the lp plus some added Rodney bumper commentary:



The Saturday Night Pogo lp would seem to be a b-team of the LA punk era, right? Well yes and no. The Radio Free Hollywood crowd never really got their due with all the revisionist history of what constitutes year zero of LA punk. I agree it is no "Tooth & Nail" or "Yes LA" but there are some shining moments. Who among the best of the old guard Hollywood punks pre-Masque have not gotten their due? Well, let's see. The Droogs are from the Valley (and worthy of their own post) and the Dogs are originally from Detroit. So I guess that would leave Saturday Night Pogo stars, the Berlin Brats. Rubin Fiberglass and I would both agree going back to our Santa Cruz days, that "Tropically Hot" off that lp and the 45 are among the great unsung Dolls/trashy songs you never heard. At Waitakere Walks, that sort of thing is our bread and butter. Both the A and B side of the 45 are among the best pre-hardcore punk 45s to emerge from Los Angeles - that is if you like the Dolls, Stones, early rock n' roll etc. A battle royale of Clap, the Berlin Brats and the Imperial Dogs could get pretty bloody (Daddy Maxfield had already split the scene). As a pre-teen, the fact that the Berlin Brats were in "Up in Smoke" did not register. The Dils later did, but I swear, so brief is the appearance of the Berlin Brats that it is missed if you so much as sneeze. Just as memorable may be the image of Rodney with his glam mullet wearing a Sex Pistols shirt at the side of the stage with Cheech Marin. I wish Fowley had made the cut. Somebody get Lou Adler on the line so we can get the full footage released!! Here is all there is:



Here is the great 45 of Tropically Hot/Psychotic:






What has been a real revelation at headquarters are the 1976 Berlin Brats demos and some live shows of the same era. Here is the demo of "Tropically Hot" slowed down with some very sweet acoustic overdubs, the great "Do I Love You Today" and a live cover of the Animals "It's My Life" from Hollywood 1976 - we need the 180 gram pressing of this stuff:







Back to Saturday Night Pogo, here is a clip of VOM at Malibu Beach (?) performing their track from the lp. Meltzer does undo some of the damage from the lp cover here and we do love Gregg Turner's vocals which he used to great effect in his next project: