Buried under with comparative legal studies for the time being, a golden oldie from March 2010:
A rustic Jonathan Richman lp cover photo. Check. Clanking Scotty Thurston piano playing. Good. Warped misanthropic lyrics to rival JW Farquhar on that sub-basement psych lp "The Formal Female." That too. There was point last decade where I was compiling an lp of non-native English speaking proto-punk and this track ("Movie Instead") was in the running. So maybe not the crusher you were hoping but I can safely say that this is the best proto-punk track from the Middle East from 1976 CE. The rest of Ariel Zilber's lp "Rutzi Shmulik" you can pass on like the b-side to Freestone's "Bummer Bitch." Trust me on that one.
In the meantime, it turns out that "Movie Instead" had a single issue in France of all places. See it here.
Jay Babcock at Brown Study has posted his excellent Black Flag pieces from last decade in their unexpurgated form, originally featured in Mojo ("Their War: Black Flag - The First Five Years," Dec. 2001) and the LA Weekly ("A Twelve-Step Program in Self-Reliance: How L.A. Hardcore Pioneers Black Flag Made it Through the Early Years," June 22, 2002). In addition, he has put together a nice compendium of video clips featuring Pops Staples, who on some days to my ears is the foremost influence on Sandy Bull's playing, other days just in the top five.
I ripped out the note below from the LA Reader in '84 for the live shot, probably not realizing that in the future there would be coffee table books of photos of bands like the Stooges, New York Dolls, Black Flag and the Ramones. Thus, from the barn comes a short note urging you to get in the tardis and head to Pasadena, CA. 1984.
Lastly, anyone know how to get ahold of Earl Liberty of Saccharine Trust? I know he is on twitter but need an email address.
This clip of Iggy on European television is a favorite Iggy performance art piece - just watch with the sound off if you don't believe me - and the song itself possibly my original introduction to Mr. Pop based on its heavy rotation on KROQ during the summer of 1981. Although it could be a new wave Fowley track at certain moments ("Bad News from the Underworld" era), what speaks to me most are the Marnie Weber-esque "Spirit Girls" - or did Iggy wander into a J.C. Penney catalog photo shoot with raining ping pong balls. Obviously, the Ig's favorite golf balls were out of the question with young children around. Now, I have not seen it broken down before, but Iggy's use of baritone sprechstimme (e.g., "phone calls I take by machine") and borrowed from Morrison perhaps, is really one of his signature vocal devices. When my book comes out, you can cite me. The outfit - a post-Johnny Thunders/Edwardian pirate look? I love it and find it inspiring. I swear I saw Stiv in person with this look several years later (similar shirt, tight pants etc) so the influence continued. Or is the real rock and roll look untrademarkable? The whole look is almost something Jack Grisham sported during the "Beneath the Shadows" era and of course, one could picture Darby co-opting the entire look.
I am still waiting for my old friend Tim to write his book on post "Let's Dance" Bowie. One of these days he is going to do it. By then, Bowie will have pilfered the entire Iggy catalog. Can't wait though till David gets to "Cold Metal," "Butt Town," and "Wild America."
A whole post could be devoted to the filming of this on Hollywood Blvd. Blink and you could miss Waitakere Walks pal Damon:
I somehow forgot that Rollins is on this:
Hullo America! Man, this captures the late 80's in a big way. Maybe a post is in order of Monoshock and pals heckling Messers Pop and Jones at this tour. "Let's hear it for the singer!"
The Misfits’ April 1982 West Coast tour is still pretty fresh in my memory. A short book about that tour needs to be written given that there are so many funny anecdotes and great photos to work with. The ad below was on my bedroom wall at the time and also possibly that of Rubin Fiberglass as well, who kindly donated his copy to the barn archive well over twenty years ago, thus doubling its number in my possession. Though we both claim to be the first to grok the Misfits among our junior high classmates at our respective schools, a trip to any mall today within a ten mile radius of Canoga Park – nay, anywhere in the English speaking world based upon my own southern hemisphere observations – will demonstrate how deep the entrenchment of Danzig’s vision among 12-15 year olds of all ethnicities. Mind you this is simply based upon my own accounting of both the bootlegged and unbootlegged paraphernalia of the band. Clearly, Danzig’s vision is omnipresent. Remind yourselves though that the 30th anniversary of the April 1982 jaunt is coming up! Too young to attend the show, I only recently found out that the Flesheaters did not actually play.
I have written about Byron Coley's Motley Crue book before, but how this particular story was missing will need to be corrected in the next edition. According to none other than Misfits Central writing about this very show:
Before The Misfits' show at Whisky A Go Go in Los Angeles, the band allegedly chased the members of Motley Crue (as documented by Eerie Von in The Misfits Box Set liner notes) down the street. According to Henry Rollins, Motley Crue vocalist Vince Neil walked into the bar while The Misfits were doing their soundcheck and Jerry, Doyle, and Danzig began heckling him from the stage. At that point, Neil supposedly turned and ran out the door. The scheduled opening band, The Flesheaters, were replaced by Saccharine Trust. Both Earl Liberty from Saccharine Trust and Rollins (who provided guest vocals on "Bullet" that night) appear on one of the covers of the Evilive 7" EP, in a photograph taken that night. Also in attendance for The Misfits' set was Rick James.
Glenn confirmed it a 1997 interview and still gave high marks to Black Flag, dissed Kiss etc. There is a whole article on how intertwined the Black Flag/Misfits Pete Frame rock family tree is forthcoming on this site:
SECONDS: Is there a story of you and Henry Rollins chasing Motley Crue down a street ?
DANZIG: Not down the street, but we ran them out of The Whiskey when The Misfits first played there. It happened and it was pretty funny. You know, Motley Crue got a lot from The Misfits -- so did Rick James. Up until then, Motley Crue was a Dolls imitation and then all of a sudden they were into "the mark of the beast." So many bands have stolen from shit I've done -- I don't care anymore. The only one I really hate is Stone Temple Pilots. They out and out stole "Snakes Of Christ" and renamed it "Sex Type Thing." I did Lonn Friend's radio show and he goes, "You know this song?" and puts on what I think is "Snakes Of Christ" and all of a sudden I hear this doofus going, "I am, I am, I am," and I'm going "Who's this?" "Oh, this is Stone Temple Pilots. This song sounds familiar, doesn't it?" We played them back to back and they were exact.
SECONDS: What was the real deal with the notorious Misfits incident in San Francisco in 1982?
DANZIG: All night people were getting hit with bottles and beer cans. These kids had singled out Doyle and were hitting him with full beer cans. Finally, Googy jumped in the audience in the middle of a song and started a fight with one of the guys throwing beer cans at him. It was a big fight, Googy started getting his ass kicked, and Doyle saw one guy throwing beer and hit him in the head with his guitar. It just went crazy after that, a big riot basically. I remember when Maximum Rock N' Roll did their story, it was one-sided that everybody wanted The Misfits gone but that's bullshit because a lot of people had come there to see The Misfits play. It was typical yellow journalism from Maximum Rock N' Roll.
There was no shortage of zine ink spent on that tour. I have already posted a review of the Chicago leg of that tour ("Misfits at Misfits" in Coolest Retardhere). There is of course the We Got Power April 13, 1982 interview by Jordan Schwartz, Dave Markey and "Ru" at Rachel's house right after the very show the advert is from - read it here. Mere hours after heckling Vince Neil! If I could find my copy of Flipside I would scan it but this will have to do for now. Al and Hudley's interview - which I probably had not read since its publication - made me remember how unflatteringly neanderthal the Lodi crew was in their belief system. Check out Glenn's "ju-ju bone" video for further proof and a belly laugh. The '82 SF show pictures were something else, like right out of one of those 70's pro-wrestling magazines. A lot of blood, make-up and fake menace.
I also found this short note in the barn with the show advert. I received it probably some time in late 1983/early 1984. I was a teenage hardcore nerd, and it was a bummer to be told by father x-mas himself that the Misfits were over (though the merch would live on!):
Lastly, Rollins interviewed last month, where he has some funny stuff to say about his old friend Glenn.
I grew up listening to Rodney and his top ten lists in Flipside were always a kick (as well as the celebrity photos accompanying those lists). I always wondered what the top songs played at his English Disco were. In Bob Gruen's essential "All Dolled Up"(or is it the original 30 minute film?), we have a brief, tantalizing clip of the New York Dolls at the club dancing to the Velvet Underground (c.f. Television goofing to the Dolls in the Terry Ork video from the same year!) Well, here you have the very first of Rodney's published lists in the 70's from Marty Cerf's always entertaining Phonograph Record Magazine. Did Barry Blue's 45 even get a US release? I have to say I was surprised to not see the Jimmy Jukebox "Motorboat" 45 on here. As far as I am concerned that song is Kim's origin of the title to the Quick's "Mondo Deco" lp? I have chosen to highlight the lesser known numbers in the states. Based on Suzi's and the Sweet's placement TWICE, they ruled the roost at Rodney's - small consolation I guess as the Dolls ARE rock royalty as much as the Stones and Bo Diddley. Jimmy Jukebox shoulda been on there and because I really enjoy Steve McDonald channeling Uncle Kim to maximum effect, I have included that as well in the mix. Love that opening beat of Suzi's stomper.
Roy Wood at his Wilsonian finest:
Not quite up there with Legs & Co.'s take on Be Bop Deluxe's on "Maid in Heaven" seen here, but not bad Pan's People:
Speaking of all things Red Kross, one of the best powerpop songs of the 90's hands down and fantastic guitar (RIP Eddie) and bass playing. Nice keys by Gere and check out her 70's Runaways styled band in Japan here:
Rummaging in the barn, I never know what may turn up. This is what I found out today: by early 1974, Alan Betrock had already identified the greatness of Richard Hell-era Television and its historical import during the band's initial residency at CBGBs. Writing in the May 1974 issue of Phonograph Record, in a multiple-page spread featuring at least 15 writers discussing local venues and clubs, Betrock manages to give the highest praise possible to Television, as well as giving ink space to Andy Shernoff of the Dictators! Mind you, none of the other writers provide band commentary except for Betrock or even feel it appropriate. Somehow I think Betrock knew what kind of easter eggs he was planting for future historians - the man knew it all along as we have written about before here and here! Pantsios unfortunately does not score too well as I sit with cup of tea in hand scratching my beard in late 2011. Sadly, she gives no mention to either Rocket from the Tombs or Mirrors in the CLE write-up, though she manages to slag Left End not once but TWICE in the issue. Though this is the shortest of excerpts, Betrock says enough about Television and CBGBs:
I ask you, how many minor league, private press, hard rock lps from the 70's does one need to hear to match the proto-punk greatness that is found on Little Diesel's "No Lie"?" Sadly, you are in denial friends. You can listen to those boring but collectible releases which you have to impress your friends, but it is a fool's game to even glean the slightest influence of ANY high energy combo on those grooves. They don't exist no matter how hard your record dealer grafts on the adjectives. On the other hand, try to imagine yourself in early 70's Winston-Salem, North Carolina going to R.J. Reynolds (Tobacco) High School and having a band influenced by (and even knowing about) the MC5, Move, Big Star, Blue Ash, Bowie, the Stooges, the Velvet Underground and the New York Dolls. That band is Little Diesel and it is time to set the record straight. Right out of Waitakere Walks central casting, "No Lie" is a teenage take on Kama Sutra-era Flamin' Groovies and "Back in the USA," mixed in with just the right progressive FM covers. Just dig the "I Can Hear the Ants Dancing" vibe offa this great photo from July 4, 1974. Yes, Mojo (sic) had a proto-punk feature but where was Little Diesel? Little Diesel was Bob Northcott, Peter Holsapple, Will Rigby, Phil Thomas, Tommy Eshelman, Chris Chamis and Chris Stamey. Some of the those names should be familiar to you. Will Rigby says he remembers Little Diesel's "slow-Stooges version of "Yo-Yo" (Osmonds) with Bob (Nothcott) oozing down the stage steps, Ig-like . . . and Bob's suggestion to call us the Hard-ons." That is NOT unfortunately on the lp. One of the last shows I saw before leaving the USA was Peter Holsapple and Chris Stamey in LA. I have been following what those two have been doing for three decades now. What may have escaped you is that while the dBs and Let's Active - hell even Rittenhouse Square and Sneakers - gather all the press, here is ground zero.
Little Diesel were omnivorous rock animals similar to those that were springing up in small burgs coast to coast prior to the 1977 punk history re-write. According to Peter Holsapple:
We were all into music as listeners at some depth, devouring Creem and Phonograph Record magazines whenever we could get them. Will was a consummate Beatles collector for a long while. He and Bob loved Dylan, who I saw as a singles artist. Bob listened to Lenny Bruce, Streisand, the Velvet Underground, and the Stooges. We all adored the MC5, who performed in Winston-Salem at a legendary show the year I was away. My tastes were in the Roxy Music/Eno/Can school, with a nascent fascination with Fairport and Richard Thompson. We saw lots of shows together in Greensboro, like Alice Cooper/Free/Todd Rundgren. I think we went to see the J. Geils Band every time they played in NC.
The tracks that comprise "No Lie" (Telstar Records) were originally "released" in 1974 on homemade 8-tracks in a total run of 20. Here is the great Dolls homage of "Kissy Boys" and a cover of "American Ruse":
Check these great photos from the band's page showing them playing and setting up at the Winston-Salem Fairgrounds.
The cd version even contains a "hidden" bonus cover of "Sweet Emotion."
Check out the correspondence where a teenage Holsapple is trying to get some writing work with Bangs. Ah, how the pretenders have cashed in with their own place in hagiographic movies about their LOW energy careers. Surely you too gagged at the five minutes you spent watching "Almost Famous" on the telly at the bar. I know I did. Also, we MUST hear the Ratz Vein Band! Nice logo in an Imperial Dogs fashion.
Now for the video, some notes. When the MC5's "Babes in Arms" cassette came out in '83, it registered that Peter Zaremba of the Fleshtones did the artwork. I played that tape incessantly in 1984. I also watched the Cutting Edge all the time. The start of the feature on Let's Active totally made me move as the band is playing "Shakin' Street" outside their barn with Zaremba. I had not seen it since the original broadcast but always remembered it. Now that Little Diesel's material is out, it makes total sense that Mitch Easter would cover it. I will also argue that this may be the FIRST time any MC5 material was played on ANY network prior to various "history of rock" type shows in the 2000s. Readers, correct me if I am wrong on this.
You also get the Osmands doing "Yo-Yo" though we need the Stooges-bubblegum version. Lastly, the MC5 as Little Diesel would have seen them in 1970 in W-S. Note that Holsapple was at boarding school at Andover that year (at the same time as Benmont Tench of Tom Petty's Heartbreakers) and missed it!
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