The neat folks at blank on blank / PBS Studios have unearthed another interview with one of our most favorite Northwest sons (see also Kurt Cobain). Holy wow, I love hearing Jimi's voice. And now I also want to wake up, roll out of bed, and swim on over to my breakfast table for some orange juice. Damn, Jimi. You were a chilly-chill dude.
Who is this man? He's about to release his first studio album in over 18 years. EIGHTEEN YEARS! Then he will do a short US tour. Ready, set, go...
Sadly, since the late '70s, the Sweet have a had a rough go. After splitting from hit/glam producers Chinn and Chapman in 1974 they continued on strong, musically, but with their former, massive success in decline. Then, in 1979, after founding member Brian Connolly left the band, things got real shaky as endless lineup shifts, splits, deaths, and regroupings under names like the New Sweet, Steve Priest's Sweet, and Andy Scott's Sweet made 'em look kinda like some tragic parody of Spinal Tap. Well, for all the shit the Sweet, in all its forms, has endured, some of it has been stupid self-inflicted bullshit: last year surviving member Andy Scott landed on the losing end of a years-long legal battle that should not have been waged.
Andy Scott, guitarist for the Sweet, got more than he bargained for when he tried to sue an E-Bay customer for selling a used CD from his band, and now faces a whopping $78,000 legal bill.
The disc in question, titled The Legend Lives On, was at first claimed by Scott to be a bootleg item. According to the UK Daily Mail, the seller, Dietmar Huber from western Austria, said he was “flabbergasted” when he received a letter from a German lawyer accusing him of breaching Sweet’s and Andy Scott’s copyright, along with a bill for 2000 Euros (approximately $2,500). Huber refused to take down the item, which was later proven to be an authentic release, so Scott filed an injunction to stop the sale of the item. The guitarist demanded 36,000 Euros ($45,000) in compensation, claiming he owned copyright on the name and that Dietman Huber did not have the right to sell the CD. Scott took the case all the way to the Austrian high court, apparently hoping for a real "Blockbuster." Now, after a five-year legal battle, the Austrian high court has ruled in favor of Huber, declaring it to be a private sale, and that no crime was ever committed. In return, the bill for the court hearing, along with Huber’s legal expenses, will now have to be paid by Scott. Which leaves the Sweet guitarist with a £50,000 bill for legal fees from the ordeal.
The CD sold for a single fucking Euro. Ugh...another reminder you rarely win when you choose to fight by throwing a misplaced fit. Right, so...here dig this Sweet song, the flip to "Little Willy," and NOT written by Chinn/Chapman. It's fucking brutal.
Which is better, the cool, cool rap styles of Cold Drinks ("If there's still foam, let it settle down / don't pour it off or your boss will frown!") Or the smooth, smooth singing in Hot Drinks ("If they want lemon / it's very nice, don't think twice / give the guest a juicy slice!")
UPDATE: Derek Erdman posted these videos a gazillion years ago! Well, in August, anyway. Seems somebody (and I'm not pointing any fingers) had too many "hot drinks" when they posted this.
Fuse's excellent Crate Diggers series attains a peak of sorts with the posthumous J Dilla episode. (I realize it aired in March, but maybe some people missed it.) Fuse gets a lot of input from Dilla's mother, Maureen "Ma Dukes" Yancey, along with several of his music-biz buddies (J. Rocc, House Shoes, Talib Kweli, DJ Spinna, etc.). Anyone curious about the records Dilla used for sampling will want to watch this. We also learn about his digging habits, his prodigious spending ways (up to $3000 at at time), his ability to zero in on the choicest passages of any record for production purposes, and his OCD filing methods. (That shit is important, unless you regularly enjoy wasting valuable minutes looking for errant records in your disorganized stacks and shelves.) It was illuminating to learn that Dilla had tapped Eberhard Weber's The Following Morning for beats, which shows his genius for excavating hiphop gold from unexpected places.
If you don't tear up when J.Rocc brings out the mask through which Dilla was forced to breathe during his extensive hospital visits while he made the all-time classic LP Donuts from his sickbed, you need to locate your heart.
Have you ever seen No Alternative Girls? A short 6 minute film made in 1994 by Tamra Davis? LADIES, It's required viewing. Interviews with Kathleen Hanna (in a ski mask!), Kim Gordon, Courtney Love, and members of: Luscious Jackson, Veruca Salt, and the Bangles...
Following the rediscovery of the Zombies in the mid '90s, via the Zombies Box , there has been a ton of indie rock hopefuls which tried to match the Zombies' greatness, but no one ever came close...except for, perhaps, Zumpano.
Damn, these nerds had knowing taste. Zumpano was a Sub Pop™ group during the mid-’90s, they were from Vancouver, BC. Of all the Canook groups SP tapped in the '90s, Zumpano was always my fave (them and Jale!!) 'cause obviously they were listening to the Zombies, the Turtles, AND the Lefte Banke. Swoon! Sadly they only had two albums, Look What the Rookie Did and Goin Through Changes. I always felt Rookie was the better of the two, as Goin Through Changes was more guitar driven, so the arrangements were lacking and it sounded like a '90s indie record. Oh, I think they were also connected to that other great '90s BC group, Superconductor!!
Another lost Cobain interview. It was ecorded in 1993, by a journalist named Jon Savage. It's animated. And though I'm not the hugest fan of animated interviews, I can listen to Kurt talk for forever and a day, about anything and everything (Kurt talking over random photography and video in the experimental doc About A Son, is still one of my favorite music films of all time.)
The video was made by Blank on Blank, who transform lost audio interviews with cultural icons into an animated series for YouTube and PBS Digital Studios. See also James Brown, and Jim Morrison (talking about being fat!!!)
The cringemasters over at Ark Music Factory have done it again, this time with 100% more breezy racism.
I miss Rebecca Black! But what else is new.
I've always loved the opening monolog from the early-'80s hardcore documentary, Another State Of Mind! Sean Sterns, singer for Youth Brigade and founding member of Better Youth Organization, speaks some truth.
Punks are misunderstood. Most people, when they think of punks, they think about violent freaks rolling around in glass beating each other up. (When) I think about punk I think about power, I think about the energy, I think about the the possibilities of change; thats what punk is all about change. It's about music by kids for kids reflecting the frustrations and the problems that kids face every day. The music most of us grew up with in the '70s was by older people singing about partying and cruising and things we just could relate to, thats not what we're feeling in our lives...
So...I FINALLY got around to watching my DVD copy of Another State Of Mind last night. I think the last time I watched this was, maybe, 1990, and on like a blurry fourth-generation VHS. It's funny how the movie still resonates, least with me. Then again I never did grow up.
Are there any contemporary collective groups like BYO?! Honestly, I haven't picked up a MRR in over ten years...just curious if the kids are still giving a shit.
As y'all might know from having working eyeballs, OR Dave Segal's interview with Zombies' founder Rod Argent, the Zombies are playing Bumbershoot this weekend.
Regarding this sidebar biz... well, most folks don't know after the Zombies split in 1969, the group's singer, Colin Blunstone took a punt at solo stardom as Neil MacArthur. I dunno why he changed his name, but he did. His first single was a cool sike version of the Zombies' hit, "She's Not There."
There is NO way to mistake his dreamy voice; I have no idea who he thought he was fooling. Anyways, of his six sides as Neil MacArthur "She's Not There" was his hardest, the rest are quite mellow, tailored to suit that smooth voice of his. And they're good, dig the last 'B' side "12.29."
The other day Megan "Celine Ding Dong" Seling admited she'd never heard the very late '80s pop punk band Sweet Baby Jesus. For serious, and I THOUGHT she WAS the QUEEN of pop punk... like, she beat up Ben Weasel once, right?
Sweet Baby were so pop they were less of a proper pop punk band and more of a '60s beat band. They really do come off sounding more like a less precious, pilled-up, Beatles rather than nodding to the Buzzcocks or the Descendents. Just dig the beat harmonies on their jam "The Way She Gets Around." Uh, hella 1963, just played through solid state gear. Honestly, tho' sounding like an old band, Sweet Baby was a bit ahead of there time. Well, perhaps not for the late '80s Bay Area, but during the oughties the rise of cheeky, silly party bands with dumb, singable jams like "Baby Baby Baby Baby Baby Baby Baby I Love You" easily found their place at ALL booze soaked house parties all over America! I owned their LP, It's A Girl, at the time, 1989 or '90, but after listening to it and deeming it TOO poppy, I traded it away. A trade I soon regretted, but by then they were all gone. Also, Megan, there was a Mr. T Experience connection, Dr. Frank was their drummer for the first Sweet Baby line up!
What would Amoeba Records look like if Charles Mudede owned it? Probably something like the chaotic piles of vinyl scattered throughout a warehouse that was captured by photographer Frédéric Thiphagne. He has been deliberately vague with the details, but the building where these countless records where stored was leveled two weeks after Thiphagne photographed it. Before that, though, the scene looked like a crate-digger's ultimate fantasy/nightmare. Gawk at the pics here.
In the days of old, and in the SOUTH, there were zero televised outlets for a young hardcore kid (me) to watch a live performance by any kinda English punk band. Zero y'all, that is, till I found fucking PBS was running BBC shows late night!! The Young Ones are now a must-see classic, but at the time, in like 1983, they were new. I thought the show was older, not current, since PBS would run old Monty Python AND Benny Hill. Anyways, it was silly and unlike ANYTHING on US TV so I watched it, natch, and was fucking STOKED when the Damned turned up!!!
Also seeing Motorhead playing "Ace Of Spades," who were actually playing LIVE, was HUGE. Their appearance here may have been the first time I'd heard 'em.
At the time, this Motorhead bit was the closest ANYONE I knew got to watching anything approaching the NWOBHM scene.
I'm going to say "yes." And yet I'm still going to link to this photo-heavy list titled "36 Things Vinyl Collectors Love." Because that's how far gone I am in this "analog forever" quasi religion. And that's how much I pander to Mike Nipper. If you don't find yourself smugly nodding along to every entry in this list, you were probably born after CDs debuted on the market. (Let me say here that picture discs are overrated and usually horrible for DJing purposes.) But it's never too late to become one of those people with more records than dollars in your checking account.
T-MINUS 1.5 HOURS UNTIL PRIMUS 3-D STARTS.
Mike Nipper's post reminded me of this clip of David Lee Roth, completely high as shit at the US Festival in 1983. I don't wanna telegraph what happens here, but this music-free clip concludes with Diamond Dave drinking whiskey with an unlikely guest and taking a potshot at one of the most famous English punk rock bands of all time.
I kinda got stuck in a YouHole™ this morning, sussing out live Van Halen bits, at this point I can't remember why. I did, thankfully, find a real good clip that might be overdubbed? Maybe? Who cares, it smokes!
I had a real thing, a slight obsession, for Van Halen when I was a tweener. I'm still kinda angry my folks wouldn't let me go see 'em. I'm still not sure why they didn't let me go, I was certainly old enough, just not old enough to drive; they also refused to take me to see Elvis, but that's a different post (sigh). Now I'll prolly spend the rest of my day listening to the Warner Brothers demo set.
Think all of the great, obscure music's been mined by now? Think again.
We’re still excavating gems from countries not traditionally known as musical powerhouses (expect revelatory unearthings of music from the Madagascar psych-rock and Lichtenstein power-electronics scenes in the next five years). Another case in point is the imminent release of Romanian weirdos Rodion G.A.’s The Lost Tapes via Strut Records, in conjunction with Future Nuggets and Ambassador’s Reception. Synthesist/songwriter Rodion Ladislau Roșca cut some amazing tracks from the mid ’70s through the ’80s with bandmates Gicu Fărcaș and Adrian Căpraru. The 10 songs gathered here traverse oddball synth pop, baroque European prog, spacey funk rock, and neo-classical composition. Rodion G.A. were off in their own world, probably charming the hell out of very few people and baffling many more. Now with our sophisticated ears primed for anything and everything, Rodion G.A. should get a more welcome reception than they did during Ceausescu's reign.
As with a lot of music from Central and Eastern Europe during those years, there’s something that seems just a bit off to ears accustomed to the output of Anglo-American musicians, and that offness is often what most rivets us.
Read more about Rodion G.A.'s peculiar history on Strut’s site. Look for The Lost Tapes on May 28.
All contents © Index Newspapers, LLC
1535 11th Ave (Third Floor), Seattle, WA 98122