Del Shannon was an early-'60s rock and roll singer, prolly best know for "Runaway." This mover, "Move It On Over," was issued as a 'B' side on Amy in 1965; Shannon's backed on this session by the Royaltones.
After his short time on Amy, he ended up on the Liberty label for a bit, where he recorded a MAJOR sike record, The Further Adventures of Charles Westover. Seriously, that LP is GREAT!! Anyway, he never did have any more major hits, and by 1969 he'd moved into production, tho' he was still recording and touring in the '70s. Shannnon committed suicide in 1990.
by Dave Segal
on Fri, May 10, 2013 at 3:29 PM
Patience is a virtue; so is punctuality and the radical concept of not making your fans wait an inexcusably long time to see you perform. While I have loads of respect and admiration for Secret Chiefs 3—who played the Crocodile Wednesday night—I have to take issue with how they doled out their music on this occasion.
Doors were at 8:30 and Secret Chiefs 3 were the only act on the bill. They went on at 9:45 and did a great hour-long set. Dressed in white hooded robes (except for the drummer, who was in a black hooded robe), SC3’s five members executed an incomparable mélange of heavy metal, spaghetti Western/Italian horror-film soundtrackage, prog rock, and avant jazz from their Masada and Forms repertoires. It sounded at once bracingly futuristic and enigmatically ancient. Everyone onstage is a virtuoso; their technical proficiency is so dazzling it’s exhausting. Nobody in the band said a damned word to the crowd. (Some jackass shouted “Free Bird!” a crime that should be punishable by death at this late date. SC3 ignored his request.)
Holy shit! Trey Spruance's head turned into a light sculpture of Saturn.
SC3 exited the stage at 10:45 and many punters thought the show was over. It wasn’t. However, the band didn’t announce anything to the effect of “Thanks! We’ll be back for another set in x minutes.” That would’ve been nice. Instead, we had to rely—if we were lucky—on a Crocodile employee telling us that this gap in the evening’s entertainment was merely an "intermission."
Now, an intermission at a concert is a serious momentum killer, and it’s not like SC3 are so old they need to take an extended break. But, hey, they’re eccentric guys and their music’s rare and fantastic, so we can deal. Give ’em 15 minutes to drink/toke/joke/chill backstage and they’ll come back recharged for the second set. But this intermission lasted 45 fucking minutes. On a fucking Wednesday.
Many people bounced during this overlong silence—maybe 25-35 percent of the attendees. I stuck around for two songs after the break and then left, shaking my head at the contempt shown toward the audience. (I was also fatigued and grumpy from being out late five of the last six nights—Masaki Batoh, three nights of Debacle Fest, and Acid Mothers Temple—so I was in no mood for delayed gratification, no matter how dome-cracking.)
This is an English record—well, an acetate—credited to the Talismen. It's quite stunning, the playing and production are stellar!! HOWEVER, I've never read any definitive info as to who the band really was or who produced this track, so I got nothing!! Nothing that is 'sides, PLAY LOUD!
If it is the English band the Talismen, they were a beat group active in the UK and Italy. Yardbird/session guitarist, Jimmy Page, was part of the session band that played on their Stateside 45 "Casting My Spell."
Jeepers! Here we are AGAIN, back in OHIO!! Right, this group the Baskerville Hounds were first known as the Dantes, but were renamed the Tulu Babies as a nod to their manager's, WWHK's Ron Brittain, radio catch phrase. As the Tulu Babies they had a local hit with their first, and a real kick-ass 45, "Hurtin' Kind." It was their next manager, and Tema label owner Jim Testa, who named them AGAIN, and this time as the Baskerville Hounds. Oh, they were from Cleveland. I'm posting "Space Rock Pt.1 & 2" since is a fucking RAW instrumental, and I just found a copy TODAY!!
Of course "Space Rock Pt.1 & 2" IS actually a not so thinly veiled cover of "2120 South Michigan Avenue," a Rolling Stones jam off'a their 12x5 LP. I lerve the Stones, natch, but I think the Baskerville Hounds own this.
Just got this today! Stoked!
The band, via all it's incarnations, ended up recording a TON of 45s and an LP, Featuring Space Rock Part 2. I think they split up around 1970 or so.
Wait...WHA?! Canook GARAGE?!? Bu-bu-bu-buuuuuttt, I thought Canadia only ever produced one good band..., like, EVER. And that band would be, of course, RUSH!!! Well, fuck me and dig the Lords of London!
"Time Waits For No One!?!" What a mover, y'all! The flip "Cornflakes And Ice Cream" was the sweetest of pop, filled with sunshine reflected off steel drums and cellophane candy wrappers. Um, yeah, like it's radio-friendly pop, but listen to it; it's off-sounding, hella creepy. Of course, it was a hit in 1967. The Lords of London were from Toronto, Ontario, and later evolved into heavy prog band Nucleus and then went pop rock as A Foot In Cold Water.
by Kyle Fleck
on Tue, May 7, 2013 at 12:24 PM
Lauryn Hill Sentenced to Three Months for Tax Evasion: That was the verdict following a lengthy court battle.
Fight For Your Right to Frolic: Beastie Boy Adam "MCA" Yauch had a Brooklyn park dedicated to him on Saturday, marking the first anniversary of his death. At the ceremony, fellow member Adam "Ad-Rock" Horovitz reminded everyone: "Beastie Boys is for the children."
Godammit. As I'm currently stuck in a oui oui hole, via this afternoon's Jacques Dutronc post, I kinda think I hafta write about Les 5 Gentlemen's "Si Tu Reviens Chez Moi." So much good here, including them dueling organ bits!! Also: I WISH I knew what they were singing about!!!
This beat group was based in Marseille, France, and only met with marginal success. However, it wasn't for lack of trying; in two-ish years they released FIVE (!) EPs. They also had a go in the UK, but got nowhere. Their UK single issue was as by Darwin's Theory, "Daytime" b/w "Hosanna," on Major Minor. It's good, but again, failed.
Holy CRAPS!! So last July, original '60s Bay Area group Powder played the Comet. Well, TOMORROW night they're fucking BACK and playing at Studio 66!
Powder was a band of young fellers from San Mateo, California, where they started playing as Art Collection. Then, they hooked up with New Zealand singer Ray Columbus, their sound "matured" and they become Powder. Tho' located in the Bay Area, they were not typical period West Coast sike, they played BIG chords, HUGE riffs, and had awesome harmonies; they sound a lot like the Who. So... like, very Anglo, OBVIOUSLY, but they successfully pulled it off. Powder members, and brothers, Thomas and Richard Frost would later have some success as Thomas and Richard Frost as well as being part of Sonny & Cher's backing band. The current Powder line-up includes music scholar Alec Palao on bass!! FUCKING FUCK YEAH!!
Powder play tomorrow night, Star Wars day NIGHT, May the Fourth, at Lo-Fi. Also on deck: resident Studio 66 group the 66'ers and resident selectors ChrisPo, Vodka Twist, and Pelvis.
Holy shit. So Greg Ginn's Black Flag has a new record...well, a new song available for download off the new Black Flag album - Down in the Dirt.
SST Records is proud to announce a free download of the first new BLACK FLAG song in many years. On the upcoming 22 song LP to be released this summer, Down in the Dirt features Ron Reyes on vocals, Greg Ginn on guitar/theramin, My War bassist Dale Nixon on bass, and Gregory A Moore on drums. The band will begin touring in May in both Europe and the U.S. ***note: not to be confused with the 'fake' Flag band currently covering the songs of BLACK FLAG in an embarrassingly weak "mailing it in" fashion*** We urge you to check out the real BLACK FLAG when they hit your area.
Wow. Well, all right...I guess now all we hafta do is download the song. Right? Uh...I've been hesitating all last night and today, 'cause...like, as a general rule new jams by important old bands usually just suck; I'm afraid.
Meanwhile, Vice Magazine has interviewed the other former members of Black Flag currently active (ahem) the "embarrassingly weak 'mailing it in'" group Flag; read the interview here; it's good! And if you'd like to watch Flag "phoning it in" then see for yourself the LIVE Flag show is NOT AT ALL weak/mailed in!! Oof. I have feeling this Black Flag vs. Flag silliness is gonna get even more ridiculous.
Happy May Day you relatively un-united workers of the world! I suppose all y'all anarchist/socialist/hippies might remember the Haymarket Affair AKA the Haymarket Riot...well, if NOT, I sure do! All that fucked up bang-bang/boom-boom was so we Americans might work an eight hour day and became the origin of May Day. Turns out "Haymarket Riot" was ALSO a very popular name for a handful of garage bands in the '60s...
This Haymarket Riot, again the bandnot the actual bombing event of 1886, were a group of weirdo kids from Enid, Oklahoma. "Trip On Out" was released on Riot Records, natch. Then there was this, another, Haymarket Riot from Monroe, Michigan. Their track "Leaving" is way more sike, but I'll let it pass as garage 'cause this mofo COOKS!
Ah, now here is a garage classic from New Zealand's the La De Da's!!
These fellers started out as Rolling Stones wanna-bes, then got a hold of an obscure 'A' side, "How Is the Air Up There," by American group the Changin' Times, and quickly made the kiwi top ten! They went on to record four albums, a ton of 45s and eventually got to England, hopeful to break huge, but instead they discovered that without label support and cutting edge material they couldn't make it. They soon returned home and went long-hair heavy.
Amanda Palmer drives me fucking crazy—she drives a lot of people crazy. She drives our dearest Megan to crazy poetry. She drives the internet into a churning, frothing rage every few months. We've been talking a lot about her.
But every time the internet swells up with a big rage boner for someone, I start to wonder—could this by any chance be about something other than the actual person/store/Rollie Eggmaster at which the rage is directed?
On Saturday, I got exactly what I wanted in that discussion when Vulture published Nitsuh Abebe's "The Amanda Palmer Problem":
I hesitate to even point this stuff out, both because it's been remarked on at length over the past year, and because it amounts, in the aggregate, to an astonishing glut of policing the way Amanda Palmer feels like making art. It's not, after all, like she's defrauding or preying on anyone, which is more than can be said for people in countless other corners of the music world. And while the level of attention paid to her business is driven partly by serious debates that she willingly participates in, it seems just as much driven by the fact that many people inevitably find Palmer herself—her manner, music, eyebrows, gender, whatever—fun to hate...
You might argue that this is the sort of annoyance from which the world can easily look away; doesn't there come a point where people are pointing and groaning at the "attention-seeking" person because we're actually getting something out of it?
This article is not an anguished "Leave Amanda alone!" Rather, it's a look at what we can learn from the red-hot reaction we have to certain annoying people on the internet.
(Warning: I got so wrapped up in reading this internet-story-about-the-internet on my phone this weekend that I failed to participate in some really important nature that was happening around me. So you should make sure you're in a dentist's waiting room or a window-free office or something—not laying in a sun-dappled park somewhere—before clicking through.)
Cuing off'a Ms. Brenda Lee, some of them teenaged female screamers of the '60s really knew how to holler through a ton of raspy gravel!
Little Frankie, from Manchester, England, began her short career began in 1963 when she sang with vocal combo called the Chimes. The Chimes recorded two singles for Decca, but for some reason just couldn't break through. Then, in 1965, Frankie was tapped to go solo; she was 16 at the time. Her new management paired her with beat group the Country Gentlemen, some good beat songs, and within the year they'd record three singles...AND then got to tour the UK with Herman's Hermits, Billy Fury, the Fortunes and Wayne Fontana & The Mindbenders. However, even heavily promoted and visible as they were, no one bought their records; Frankie and the Country Gents quit by '67.
This Huck Finn fuzz-led, bubblegum-garage jam, "Two Of A Kind," is quite a dancer!
The Huck Finn were from NYC and included some members of Balloon Farm. Balloon Farm, of course, are best known for their awesome fuzz and weirdo, electronic-skronk-filled Nuggets entry, "A Question Of Temperature." "Two Of A Kind" and its cool flip, "We'll Catch The Sun," was the Huck Finn's only record.
by Dave Segal
on Wed, Apr 24, 2013 at 2:19 PM
"[T]here hasn't been an album playable throughout since Cat Stevens became Yusuf Islam." So says music-industry "expert" Bob Lefsetz in a recent newsletter. Note: Cat became Yusuf in 1978. In 35 years, Lefsetz claims, not one musician/band has created a full-length that has been "playable throughout." (I'll wait for you to stop laughing.)
Now, it's Lefsetz's shtick to make grand, sweeping generalizations and pronouncements that sound plausible, even profound... until you ponder them for more than five seconds. I'm not saying that Lefsetz is never right; he often makes cogent points. But he is off-base often enough to make me doubt his credibility. Lefsetz proves that if you're loud and confident enough, you can bamboozle a lot of gullible people—many of whom work for major labels—into thinking you know what you're talking about.
One of Lefsetz's pet theories—listeners don't care about albums, the album is an outmoded format, people just want great songs—may be true with some folks, but look beyond the casual music consumer or ADHD sufferers and you'll find millions of people who still listen to albums and find the art form fulfilling.
As for Lefsetz's bold statement in paragraph one, I would posit that hundreds, if not thousands, of albums since 1978 have been "playable throughout." Off the top of my head, I'd say these qualify: Wire's 154, Gang of Four's Entertainment!, Prince's Dirty Mind, Public Enemy's It Takes a Nation of Millions to Hold Us Back, the Feelies' Only Life, Sonic Youth's Sister, Chrome's Half Machine Lip Moves, De La Soul's 3 Feet High and Rising, My Bloody Valentine's Loveless, Spiritualized's Pure Phase, and Burial's Burial. I could go on, but you're probably about to move your eyes somewhere else very quickly.
If you think Lefsetz is off his rocker, state your case with examples in comments.
Yes, this is all subjective speculation, but sometimes a revered pundit needs to be called out on what most people would deem an excrement-filled opinion.
The Tribe were an English group who had one single, on Kinks/Who producer Shel Talmy's label, Planet; the flip to "(You Got) The Gamma Goochee" was "I'm Leaving." Oddly, "I'm Leaving" is their song and not a cover. There are no threads of the often-covered by UK/Euro beat groups "Leaving Here," an Eddie Holland song, or John Lee Hooker's "I'm Leaving." The Tribe instead turn in a fucking great English beat track.