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How many people over the years flipped through the Rolling Stone Illustrated History of Rock & Roll (originally published in the late seventies), saw the photo above and wondered 'Who the hell is this?' It's the photo that opens the book, and it's a classic shot, no doubt.
Surely rockabilly fiends would know the name. Alas, there were very few rockabilly fiends when the book first came out, let alone compilations of obscure rockabilly artists, or Wikipedia, or the internet. You'd be patting yourself on the back because you knew who Gene Vincent was, then you'd see this, and just go, 'aw, fuck'. A caption was added in later editions. It read 'Ersel Hickey, the personification of early rock & roll style'.
What about Hickey? If you're like a lot of people, who read the whole book but failed to go back later and connect the dots not connected by the editors (Hickey isn't even listed in the lengthy index), here's the short version: His dad died when he was four, and after his mom suffered a nervous breakdown, she was put in a mental institution. He was shuffled around in foster homes until he was fifteen, when he went on the carnival circuit with his sister Chickey Evans, an exotic dancer. After his sister bailed, he continued with the carnival for a while, then ended up in a home for troubled kids. Fast forward to 1954, he hears Elvis, and becomes a rocker. Just three years later, he meets Phil Everly who tells him he should write his own songs. He goes home, and that night wrote 'Bluebirds Over the Mountain', which charted at 75.
(It was covered a year later by Richie Valens, and in 1969 by the Beach Boys.) That same year, he posed for that iconic photo. You should really check the lengthy bio at the. Rolling Stone Illustrated History of Rock & Roll is still in print, in an edition that looks to have been last updated at the end of the nineties.
Regardless, there's a bunch of good timeless reading in that book. Go to, you can preview it. Check out the table of contents, it's on page seven, three pages past the photo of Hickey.
The list of contributors is a who's who of rock eggheads: Greil Marcus, Lester Bangs, Greg Shaw, Jim Miller, Peter Gurlanick, Robert Christgau, David Fricke; you get the idea. If your knowledge of earlier rock 'n' roll is limited, this book is a good place to start. Mick Farren died Saturday, on stage. He was pushing seventy, and if you're a peagreen you likely don't recognize his name.
You're probably wondering why a sixty nine year old geezer you never heard of, who's music was by no means the best music of his many eras, would merit a blip. Farren was also a writer, among the truest of true believers, a guy who early on pointed to the disparity between the foo foo rock star elite, and the fans the paid for their lavish lifestyles. He walked the walk. You owe it to yourself to read up on him. I'd never heard of the Shine Brothers until tonight.
Proceeding cautiously. So far I've heard only a few songs. 'White Tears' was just interesting enough to take a chance on a second, 'So Many People'. Both are fine song, but, jeez, listen to them. What would you give to give be able to mess with the mix? Not permanently alter it or anything, just mess with it.
I know there's software, but ain't nobody got time for that. Listened to another one, 'Climb the Ladder', on their Bandcamp page. That one has a little Beach Boy's 'Do It Again' thing going on, with some organ and fuzz woefully buried. Again, me want mixing board. Check out the video linked below, a live version of 'White Tears'. I like the whole feel of it. The camera work.
It reminds me of that time I got drunk and watched a band. Here's an oddball that isn't all that removed from Dave Allan, posted yesterday, surprising considering the source. It's the B-side of an early 45 by Michael Blessing, aka Mike Nesmith, pre-Monkees.
The A-side is an anti-war song, 'The New Recruit'. The record was released in 1965, the U.S. Was in the thick of the Vietnam war. The flip though, 'A Journey With Michael Blessing' is, I can't say it any other way, just fucking awesome.
Okay, imagine Dave Allan and Link Wray, together, playing Ennio Morricone. That should be enough.
Last night I was flipping around the TV and saw the opening credits of a movie. ' flashed on the screen, and that's all it took for me to hang around to see what movie it was. Was known for low budget, straight to drive-in type movies, many directed by Roger Corman. They did put out a bunch of beach party and horror type movies, but a lot of their best were biker flicks and other assorted tales of rebellious drugged out dirtbags. Among the biker flicks were The Wild Angels, Devil's Angels, The Glory Stompers, and The Born Losers.
Non-biker flicks included The Trip, Riot on Sunset Strip, and Wild in the Streets. Can you see why I stuck around? The movie last night was one I hadn't seen, Chrome and Hot Leather, a biker flick that had among it's cast, Marvin Gaye. What?) It wasn't the best movie, but it had sufficient genre corn.
I've sat through worse. Here's one that was better, The Glory Stompers, from 1968, with Dennis Hopper.
The Glory Stompers (1968), with Dennis Hopper (the entire film). Damnit, ' We're'!! ' We're Archie Bell and the Drells'!! (That's been bottled up a long time.) You know that one, right? 'Tighten Up'? It was their biggest hit, the one with a big ol' grammatical error smack dab in the intro. There's a link to it and a half dozen covers of it, down below.
(Go ahead, we'll wait.) The other one you might know is Bell and the Drells' original version of '(There's Gonna Be a) Showdown', the song the Dolls covered. It's an early song, back when their version of Philly soul was just getting wings. If you who know the first two Dolls albums like the back of your hand, you'll have a hard time not hearing their version in the back of your head when you listen to the original.
Even if you don't care for them or haven't heard it, listen to their cover. You gotta cop to it. They did make it their own. Quick, what was the B-side of Captain Beefheart's 'Diddy Wah Diddy'? Yeah, no clue, right? Posted it, 'Who Do You Think You're Fooling'.
No clue if it's been compilationized, but who the hell cares? It's the B-side of his first 45, and if the discography at Wikipedia is to be believed, it was a promo only single.
Regardless, you've probably never heard it, the B-side that is, unless you're a fiend. The video below is a good one too. Imagine being one of the beautiful people in Cannes in 1968. The paparazzi part and, lo and behold, right in front of the pristine blue sea there's a band of L.A.
Dirt bags just screwing up the scenery. Here's one you don't run into every day, an early ska LP with no Skatalites. From a guy you probably don't know, but should. Carlos Malcolm was trombonist born in Panama, who got his start playing jazz with Don Drummond (okay, now there's a Skatalite).
In 1962 he became the bandleader for the ten piece house band of the Jamaican Broadcasting System, and a year or so later started his own combo, his Afro-Jamaican Rhythms. That would be enough for one guy. He also managed to squeeze in studio work, notably some of the background music for Dr.
No, the first Bond film. He had a degree in music and didn't limit himself to strictly Jamaican sounds. In the late sixties he was living in New York, where he branched out into funk and hybrids of Jamaican music and Latin jazz, releasing future collector meat Bustin' Outta the Ghetto, around 1970. Dig this: He dishes out musical, professional and life advice on, updated as recently as last week.
Yes, Good stuff. If you've been lurking around here a while, you may have noticed. I've got a thing for early Tom Waits stuff. It might be because he was one of few non-oldies artists to survive the punk rock purge of my record collection.
You may have had one of those, when punk rock powered your personal bullshit detector, and a lot of the bands that you liked became somewhat irrelevant, not necessarily because of their music, but because of their showbiz flash and all that rock star nonsense. Waits still seemed like a regular guy to me. A few years later, I happened to meet him.
He was still living at the Tropicana Hotel at the time and though the conversation was short, he did seem like a regular guy, albeit a regular guy about thirty years older than his age. Anyway, the early stuff has always been my preference. Yeah, yeah, the later stuff is good and all that, but there's something about the early stuff that's so simple that it makes the bells and whistles of some of the later stuff seem unnecessary. And now I'll use the word stuff just one more time for good measure. Here's some Brazil ( Brasil to natives) related stuff. Some of you crazy leather wearing nuts might think it too laid back.
Loosen the hell up. The rest of you, here's the skinny. Collection of Tropicalia related videos is what instigated all this. It does kind of skip around a bit, so if you want the story of the Brazilian Tropicalist movement, check out at YouTube. There's also a link to a post with a bunch of Gal Costa's stuff down there. She was a singer in the movement. Then there's another link too the songs, put together by someone who knows a lot more than me on the subject.
I'll take his word for it. There's another link to a compilation of bossa nova in spanish. Not that it matters here. Spanish, Portuguese, I don't care. This is a good mix, all light and airy n' shit. I can't figure out how to download all of the songs, so pipe in if you can, or you can just stream it. There's another ten song assortment of Brazilian stuff, all different types, at Aquarium Drunkard.
I mentioned a while back how my uncle unknowingly and surf music. He also had Santo and Johnny in his stash, which wasn't much of a leap considering his obsession with instrumental guitar bands. (To wit, he shared Duane Eddy's last name, and my Mom later told me that he would tell his classmates that he was related to him). Somehow, my brothers and I ended up with his copy of Santo and Johnny's 1961 LP Hawaii which we played incessantly (our favorite back then was 'Hawaiian War Chant'). It was the first record in our collective heap that had steel guitar on it.
(Try describing the coolness of that sound to your friends when their primary exposure to music is Boss Radio.). Fast forward to drinking age, let me rephrase that, heavy drinking age. When you've grown past keg party age and graduated to barstool, or rather barfly. When I used to go to the bar, every night, the bar in question was. An awesome bar it was, pre-mob scene, and the last few years I was a regular there, the jukebox was the best in any bar I've ever been in, particularly because it was more informed than the clientele.
So you had the day crowd, largely geezers, listening to Love's 'Little Red Book', and the night crowd which was younger (but still contained relatively few music geeks), listening to 'Sleepwalk'. Imagine that, in a bar that opened on Pearl Harbor day, and had been updated little since.
That's heaven right there. I dig Ken Boothe and it's been a while, so here's a handful from him. But this time we turn the tables on Mr. Never Met A Song I Couldn't Cover. But first, a couple covers by Booth; of Mungo Jerry's 'In The Summertime', and Bill Withers's 'Ain't No Sunshine', both solid. Then, his 'Old Fashioned Way', followed by U Roy's version, 'Dynamic Fashion Way'. And finally, Boothe's 'Artibella', followed by a cover by Robert Walters's 20th Congress, which is so damn fine that it was the reason for this Boothe-fest.
And that is how you make a paragraph out of a song list. I'm not one for birthday posts, but a friend of mine linked to a nice video of Johnny Thunders (born July 15, 1952), and it was hard not to be a little moved.
It's a video of him with three kids and I'm not sure what the story is behind it. It looks like they were going to use clips for a future music video. It was nice to see him clowning around with young bullshit detectors. One of his last recorded songs, 'Kids Are People' plays intermittently in the background and at one point the kids are singing along. The song was recorded for what was to be his next album (See Sticks and Stones, linked below). It was a Dick Dale sorta day today. Rather than dish out the ones we've all heard a zillion times, here's a few lesser know songs.
(If you're a dick head, you know these.) Did you know that Hal Blaine, and, then in, all played on Dale's major label debut LP, King of the Surf Guitar? It was his second LP, and his first on Capitol, so, without looking it up, my guess is that the label was throwing money into their new act. None of the songs down there are from that album. The first two are from his first LP, Surfers' Choice, self-released on Del-Tone Records. 'Let's Go Trippin' and 'Miserlou' are on it too. If you're going shopping, start with that one. For the life of me, I can't figure out why Benny Joy's stuff hits me as crazed.
Maybe because, if it's not over the top, it's not for lack of trying. The echo, his enunciation, his random shouts during the solos, everything is a little over done, in a good way. All three of these have novel approach sprinkled throughout. Not to say it's not good rockabilly.
On the contrary, this is my favorite type. If you're not top tier and you know it, do whatever it takes to make yourself stand out. Get bold you crazy rockabilly man. Earlier tonight I was attempting to get through the Germs bio-pic, What We Do Is Secret, for the third or fourth time. Though, I gave up a little further into it in this viewing, it just seems too corny, like an.
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After I lost interest this time, I just left it on and went about my business. When I was in the kitchen, I heard 'Forming' from their first 45, from the other room. If you weren't around when it came out, you'll probably think it sucks. Hell, most of the people who were around when it came out think it sucks. But when I heard it, albeit a reenactment, it might as well have been 'Johnny B. Goode', for the amount of times I've heard it, and how familiar it was.
And I think the song sucks. But there was a very small window of time, I think it was just weeks, when 'Forming' was the only L.A. Punk single out. Things like that carry with them strange attractions. I saw the Germs live back then, their second show. It was a 'Kim Fowley Presents New Wave' showcase at the Whiskey. I think bands just signed up to play, I don't think there were auditions.
So it was a real crap shoot. They sucked, and here I am, all these years later, and I'll be damned if that shitty song doesn't feel like Chuck Berry.
Continuing my assholery, the second song, 'Nosso Trato' ('Our Tract') is either a cover of the Beach Boy's 'Don't Worry Baby' simply renamed, or it's a complete rip-off. Regardless, I dig the backing, the slightly off production. Nothing like the Beach Boys. Check the solo at 1:50.
There's sixteen seconds that you could well imagine as the Velvets doing surf music. The last one, 'Perdi Voce' sounds like Booker T, with some Duane Eddy freak subbing for Steve Cropper. It's got a real Packy feel.
I'll shut up now.
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