Getting this thing out is always a struggle. And being that this is the last ish to be put together in '94, there's extra work to be done. (You won't see it till '95, but the work is - almost - pure '94.) For one thing, I'm once again doing a wrap-up. Cheesy it may be, but kinda fun, too. My life (and this mag, too, as a result) has seen some major changes this past year. I left Mother Equitable (The Pizza Lady, Goddess of Job Protection, what have you) this past May to seek a more interesting line of work, something I felt good about. On the way there, though, I've gotta make a stop back in school... to be re-edjumucated, as it were. So here I am, down just south of New Brunswick-town, going for a Master's in Education at Rutgers. This means I'm hitting less shows than usual... which bums me out, but them's the breaks. Joining me in my big adventure is my number one (and only, come to think of it) gal, Roberta. School is a heckuva lot of work and stress piles on sometimes, but she helps me get through it. School has had its up side, too. I'm learning about some interesting ideas... and meeting some cool people at the same time. Add in the fact that I'm back on the air for the first time since Spring, '87 and things aren't too bad. Now throw in free Net access and I'm pretty happy overall. But, like I've said time and time again - there's tons of work to do. Now... back to this mag. Once again the year has seen some changes. We started 1994 off doing four sheets, double-sided (yeah, that's eight pages, Dinkelhoffer). And so it went through ish #46, the one I took out to the Pacific NorthWest with me. But the next month saw me doing schoolwork for the first time in seven years. I kept writing, but never managed to finish things up. As a result, I had what amounted (with reduced font-size and increased margins) to a triple issue by the time I put my next ish out right before Labor Day. Figuring this to be a one-time thing, I decided to call it a double-issue and be done with it. Why I couldn't learn from past experience I don't know. Every time this dang thing grows in size I figure it's the exception rather than the new rule. And I'm dead wrong every time. Maybe my old boss was right in calling me a raccoon. (Never mind.) Well, at least #47-48 had a cool cover (thanks to the genius of Mr. Pete Ciccone). But only a month and a half later I was back again with an issue that was only a page shorter than the last one. Then came the landmark issue, #50, with the return of The Platterpuss, plus an actual layout courtesy of Quisp N. Quake. And here we are at the end of the year... I've been to five weddings, missed another, and I'm plum tuckered out. Still... I went to GarageShock this year. But more about that (just in case you missed #47-48) in the wrap-up. Weddings? Did someone say something about a wedding? My ol' bud, Bill Jones (who sent in the e-mail last ish), got married down in Baltimore over Thanksgiving weekend to the lovely Ms. Michelle Davella. I gotta admit I wasn't too thrilled about all the driving involved (back to Long Island for Thanksgiving, then up the next morning, back to our place, then down to Baltimore for the rehearsal, then - because of some miscommunication - down to DC to drop my friend LJ off, and back to Baltimore... not to mention the mega-traffic on the trip home on Sunday), but it was well worth it. I felt honored to be in Bill's wedding party... and a party it was! Congratulations, Bill & Michelle, on your happy day, and may you have a wonderful life together. So, then... what will you be reading about herein? I could get snotty and tell you to look for yourselves (tho' the front cover has probably given it all away, anyhow), but I'm in a friendly, holiday-type mood. That spirit is just washing over me... like bleach. (Don't ask... that one just kinda shot out of the fingertips.) Well, besides the reviews and live stuff, I guess the big story is the wrap-up. There was supposed to be reviews of a couple of posthumous Optic Nerve discs, plus something on The Nomads' box set, but that stuff'll have to wait for #52. Roberta and I made a quickie run to and from LA. It was my first trip out there. Overall, I had a good time, tho' it seemed unnatural walking around without a jacket over New Year's weekend. In the cab ride from the airport, we saw a place called the Platterpuss Record Shop. Has Mr. Shore been scooped or is this a new form of plagiarism? I'm still having a great time exploring the Net, though I still haven't gotten around to setting up a home page. Right now I'm hooked into the Modslist, the Bomp mailing list, and (my favorite), a Usenet newsgroup called alt.music.banana-truffle, on which we discuss and debate many important issues relating to garage/punk surf/trash rock'n'roll. Catch you there... THE BIG THREE (take that any way you like): Blair Buscareno ... evil mastermind Roger Mah ... puts people to sleep - for a living! Quisp N. Quake ... appearance is everything WFUN DJ PICKS Blair ... Fortune & Maltese, The Insomniacs, The DM 3, Cub, The Vikings, Trick Babys Matt ... The Choir, The Chocolate Watch Band, Plasticland, & The Gravedigger V DENIZ TEK Hell's Gate, Hollywood, California (August 5, 1994) I would've been more excited, say ten years ago. I was a freshman in college, spinning records on the university radio station, and Australia was an explosion of hard fast guitar sounds. Every three months or so, Joe Hanna would get a new Aussie shipment in at Play It Again, and those 45s served as the soundtrack for my college experience. Mushroom Planet, Celibate Rifles, Eastern Dark, New Christs, Trilobites, Melting Skyscrapers, Screaming Tribesmen, Seminal Rats, Lime Spiders, Exploding White Mice... fuck, they were all great. It's easy to look back now and dismiss a majority of the above-mentioned bands; at the time, however, Australia was the source for high quality guitar smash-and-grab. Of course, the whole Aussie 80's sound was built upon the foundations laid down by the fabulous Radio Birdman. In the mid to late 1970s, Radio Birdman ruled over Australia for four long, productive years, eventually breaking up overseas during an ill-fated UK tour supporting the Flamin' Groovies. They were a defiant combo of arrogance, intelligence, aggression... oh yeah, and music. Their update of Stooges/MC5/Detroit rock-n-roll was without peer (save for Sonic's Rendezvous Band). If you are in any way unfamiliar with the band, I suggest starting with Radios Appear (overseas version), Living Eyes, or the New Race LP. In addition, track down a copy of Vivien Johnson's excellent paperback, Radio Birdman. Despite some intrusive aborigine metaphors, I am quite certain that this is one of the most thorough, informative and interesting rock and roll biographies I will ever read (at least until a definitive Velvets retrospective is published). Deniz was in town for two nights before heading to Australia, where he has a full-time backing band and a Polydor recording contract. "First US appearance since the 70s" proclaimed the triumphant flyers. And yet few Angelenos seemed to care, as the club was mostly empty. Hell's Gate is a dilapidated small building located in East Hollywood's Yucca corridor - a dimly lit sidestreet in one of LA's shittiest (and scariest) neighborhoods. (Now he tells me! -- ed.) Inside the club, clutching that Epiphone guitar, stood Deniz, dressed in black jeans, black shirt, and black boots. He looked good - definitely older, but no gray hairs or paunch or anything embarrassing. Deniz was playing lead guitar and doing the majority of the singing. His hastily assembled back-up band consisted of three heavily tattooed dirtballs who were barely competent on rhythm guitar/bass/drums. They were playing too loudly and the sound system sucked. Consequently, most songs were three minute blasts of white noise/static. Included in the eleven-song set was the following Birdman material: "Smith & Wesson Blues", "Crying Sun" (killer twisted guitar intro by Deniz, uninspired ho-hum vocals by the moronic rhythm guitarist), and "Journey By Sledge" (actually a Visitors' song, but...). Deniz' guitar-playing alternated fast, fluid leads with sharp, jabbing riffage. Unfortunately, the band's plodding, unsympathetic accompaniment effectively blunted the ferocity of Deniz' attack. They ended the show with "Descent Into The Maelstrom" (again, marred by strictly perfunctory back-up instrumentation), which segued into a lackluster "New Race". As much as I admire Deniz Tek, I must admit it looked slightly ridiculous for a 40+ year-old physician to be mouthing vague reactionary lyrics like "there's gonna be a new race / kids are gonna start it up..." Not quite as putrid as watching a rock dinosaur like Roger Daltrey sing "hope I die before I get old", but you catch my drift. A major disappointment? Yeah, but my expectations were way too high, and unrealistic to boot. I'm glad I went and I certainly enjoyed meeting and talking to Deniz. Next time he plays LA, however, I'll be content to stay home, secure in the knowledge that I'm missing nothing of great significance. --- RM Your Esteemed Editor Wonders Aloud Back when The Spectors were in town, they told me about running into Deniz Tek in Minneapolis one day and inviting him to play a few songs with them that night. After which they promptly spent the afternoon getting a bunch of Birdman material into tip-top shape. Evidently things went well, on both ends. I'll have to ask Roger if he'd consider seeing Deniz play under these circumstances (a band of strong musicians with great enthusiasm for the material.) 'Cuz I'd be willing to travel a couple hundred miles for it. .............................................................................................................................. CHEESY YEAR-END WRAP-UP CRAP Geez, I thought I was pathetic to do this last year, but here I am again. Let's start with the bad and then do a tail-tucked 180. Biggest Bummers: Lotsa lousy crap went down in '94. Here we look at deaths, break-ups, & other things that brought a frown (and more) to my face. While everyone seems to still be lamenting the loss of Kurt Cobain, they did all but overlook the suicide of Tommy Boyce. Not to mention the disgraceful glossing over of the passing of Fred 'Sonic' Smith of the MC5. (For a full treatment see Larry Grogan's Evil Eye #14). As with any year, a bunch of great rock'n'roll groups broke up. One of the most powerful acts around, The Voodoo Dolls, played their last show at The Rat up in their Boston stomping grounds. Guitarists Dave Harrison & Evan Shore soldier on with a new rhythm section under the name The Nines. NYC lost a couple groups, including one the most enjoyable bunches ever to grace a stage, The A-Bones (see TS #49), who decided the time had come after a decade of sweaty fun. It looked like The Devil Dogs were gone this summer, but they held on a bit longer, not playing their last show till early December... and I missed it. (You'll get a little more on this towards the end of this mag. Not much, but a little.) And rumors persist that The Young Fresh Fellows have also decided to call it a day. While I happen to be of the opinion that the best YFF stuff came out on the first two LPs, they definitely had some other moments. Things seemed to be swinging back in this direction lately, too. And their live shows never foundered. While many groups go through lineup changes on a regular basis (can you say 'The Lyres?' I knew you could.), I never expected The Muffs to kick out rhythm guitarist Melanie Vammen. Sure, they'd parted ways with original drummer Criss Crass in the summer of '93, but that was different... Melanie's ties to Kim went back to their days in The Pandoras. If anyone has the full story on this, I'd like to hear it. I hear The Muffs have played shows as a three-piece. It's gonna be strange seeing them without Melanie. New disc is due out in March... so far. Best Reissues: I'm only dealing with reissues of cool 80s material. I'm sure that Beatles at the BBC thing is great, and there are tons of great boxes that have come out, but that's not my area of expertise (if anything is). Nope, the area I feel most qualified to cover works from the early 80s onward (when I first found out the water was fine... nothing like an obscure reference, huh?). So here they are: The Tell-Tale Hearts - High Tide (Big Noses & Pizza Faces) (Voxx) The Optic Nerve - Forever & A Day (Screaming Apple) & Lotta Nerve (Get Hip) (Note: These will be reviewed together in a later issue). The Nomads - Showdown! 2-disc box (Sympathy For The Record Industry) Best Comp: Like most people, I think tribute LPs have been done to death (and yet they just keep going and going... like that damned Bunny!). Still, every once in a while somebody manages to come up with something special. So let's give the Norton Records folks yet another standing ovation for the Turban Renewal disc they gifted us with in '94. This one paid homage to the fabulous sounds of Sam the Sham & The Pharaohs, with cuts by The Untamed Youth, The Lyres, Teengenerate, The Devil Dogs, The A-Bones, Nine Pound Hammer, John Felice, Handsome Dick Manitoba, and tons more (including The Phantom Surfers & The Mummies on the double-LP version). Top that, Monkey Boy! Best Reads: There've been a number of great reads this year, but the following are the ones that've pleasurized me most: I've been reading Joe Johnson's 3:AM for quite some time now and it just gets better and better. Consistently good taste in rock'n'roll, plus hilarious video reviews, Carterberry Tales, and tons more combine to make this indispensable every time. This year's issue of Cryptic Times could very well be the final one. At the moment, obstacles too great to overcome have put this longtime mega-zine on hold. Pick it up, though, if you see it, 'cuz there are 1001 reviews (well, not exactly... I don't think), plus tons of articles on some of the best garage/punk bands and labels in the world. I'm not sure if the first issue of CapSoul Reviews came out at the end of '93 or in early '94, but either way, this is the first full year. It's come a long way, too... starting out as mainly a vehicle for The Skeever to wax poetically about some of his coolest (and oddest) thrift store finds, but has grown to include crazed rants (called editorials), cool articles, and even some straight-up reviews. Best New Label: Actually, I can't think of that many new labels this year. Well, there've been a few, but none that have put out as much stuff that I've wanted. Actually, I guess Rip Off Records would vie for this title, but I'd say they were edged out by the Rat City folks. Maybe it's an unfair comparison. After all, Rat City has yet to put out an LP, while Rip Off did two this year (The Rip Offs & The Statics). But hey, this is my 'zine, and my picks. Actually, the choice of either of these will be enough to start an argument amongst some of the fine folks on the alt.music.banana-truffle newsgroup, where an argument (er, discussion) has been raging about the whole lo-fi thing. And sooner or later, I'll try and get the main points distilled into an article/debate for this 'zine. Anyway, Rat City has put out some strong rock'n'roll by The Invisible Men, The Statics, The Primate Five, and The Spider Babies, among others. More is planned and I'm gonna keep buying. Best Major Label Signing: In '92, Warner Brothers signed The Muffs. Well, OK, that seemed possible. After all, punk had begun to break through (after only 15 years or so... Not bad.) But finding out that Southern Culture On The Skids had been called up was a real knock on the noggin. I'd be thrilled to see this trio take over The Billboard charts from the likes of Michael Bloated and Michael (soon to be Michelle?) Jackson, Madonna, etc. Picture them on one of the awards shows doing "8-Piece Box", asking some of The Beautiful People to get up on-stage and eat chicken, then possibly smearing it all over them, asking them to throw it out to the Tux & Gown crowd. Thing is, Rick Miller's got some killer songs in his trick bag, in addition to being one helluva guitar player. Throw in Mary Huff's bassing & killer vocals, plus Dave Hartman's stand-up drumming and you've got a fab combo. Best thing is, they're planning on recording their major label debut at the same studio they did the Santo Sings EP. Viva Del SCOTS! Best Rock'n'Roll: There were tons of other groups that grabbed me this year and made things worthwhile, but the following list details what really made the difference for me in '94: While Matthew Kaplan and I fight rather often, I'll always thank him for making me stay out a little later that Tuesday night in May of '93. Because that's when I first saw, and fell for, Cub. And if that night began my infatuation, it wasn't until the Betti-Cola CD / double 7" that I realized there was absolutely no going back. This year they also released the "Volcano" 45 (CD & 7"ers all on Mint), as a sort of between-meals snack. I was also lucky enough to see them three times this year - in Toronto, Seattle, and Hoboken. This is the sweetest, most irresistible pop I've heard in ages. I love Cub. The Insomniacs, out of The (Toxic) Garden State, have been doing it for 5-6 years, but they really came into their own in '94, both on the vinyl frontier and in those smoky dungeons we call venues. To start off the year, they gave us the "Going Out Of My Mind" 3 song EP (Outer Limits) of cool 60s covers, following it up only a few months later with a six-song 10" EP (Estrus) of (mainly) original material that was just as strong in their chosen field of psych/mod garage/pop. As a Supercharger fan, I'd eagerly awaited The Rip-Offs' debut 45 in late '93, and was even more impressed with their second. But it wasn't until I saw them at Garageshock that I truly understood just how great these guys are. Anyone tempted to write them off due to their penchant for no-budget recording need only catch their live act to be brought into the fold. The Yum-Yums are the only group on this list that I've never caught live (tho' friends say they're tops in this department, too). Hailing from Oslo, Norway, all I've heard so far is the "Girls Like That" 45 reviewed this ish, but that's enough. Reports also have them performing The Real Kids' "All Kindsa Girls". Let's hope for more in '95... and maybe a trip to the US. (Please.) Tons of folks on the scene are pissed off by The Makers. Many accuse them of picking fights, destroying equipment, and generally having a bad attitude. 'Obnoxious brats' is a term often used by their detractors. The thing is, these guys have produced some pretty damn incredible music. I'd liked them before, but their debut CD, Howl (Estrus) blasted me right into orbit. And they didn't let up, either, putting out a number of 45s, plus a 10-incher/CD-EP of instrumentals (The Devil's Nine Questions) to keep up the pace. These guys refuse to be ignored. One more, OK? Teengenerate. Yeah, I mentioned them last year, too. Then they'd only released one 45. This year was the avalanche, including a CD on Cruddy, plus tons of 45s and a ten-incher on Sympathy. And while some of this material is top-notch (none is less than damn good, with the Lucky Records 7-inch EP taking top honors in my book), it's their live shows that put them in this category. I got to see them three times while out in Washington... in Seattle, Bellingham, and Vancouver. (See TS #47-48 -- ed.) Fink & Friends are one of the best. Coolest Event: That's easy... GarageShock, '94, even if I did get a speeding ticket on my way back to SeaTac airport. Tons of great bands... five a night from Thursday thru Sunday in the Estrus homeland of Bellingham, Washington. This is an event not to be missed by garage-punk-surf-hot rod rockin' enthusiasts. Tons of cool people getting together from all over... even Europe, New Zealand, Australia, & Japan. Lotsa records, t-shirts, and wildness. (Oh yeah, and beer for those who indulge.) See TS #47-48 for a full run-down. (If I can find it.) This event's influence is felt all year long, with many (what I call) AfterShocks. These took place in Chicago (July, I think), Chapel Hill, NC (hosted by Southern Culture On The Skids in late August), Athens, GA (at then-Woggles' guitarist George's Atomic Music Hall in early November), and Alabama (over Thanksgiving weekend, I think the Man or Astro-Man? guys had a hand in setting this up). See you in Bellingham over Memorial Day weekend for G-Shock, '95. A BIT BETTER THIS TIME That's about the best way to describe things, I guess. In #50, I spent more time talking about shows I was missing than those I'd seen. This time, at least, the ratio is on the positive side. While I've still missed some cool shows (the distance thing, plus I'm out of the loop living down here), I've made it out much more this month. Friday December 2nd presented me with a choice: I could either drive up to NYC and check out The Devil Dogs, The Waldos, NY Loose, Mildred Pierce, & Jayne County at CBGB's (pretty cool sounding show, I thought) or stay local and go over to Busch Campus for "Ska Night". These days, it costs me about twelve bucks in gas & tolls just to get into the city and back. Since I knew I was making the trek the next night, I decided to stay local and pay a measly $2 for The Skatalites, with Bim Skala Bim and New Brunswick's own Inspecter 7. Now, I'll admit right off that I don't know too much about Ska. Like every other high school kid in the early 80s, I knew who Madness were and I knew about The Specials. And a few others, too. And there was a local group called The New Bohemians who did some Ska in their set, too. Later they metamorphosed into The Scofflaws and went pretty heavily into Ska, Rock Steady, etc. Anyway. So the local boys started things off. While they're not as polished as some other acts I've seen, they certainly had the spirit. And a love for the music. Included in that love is a desire not to taint it with something that just doesn't belong. Which brings us to Bim Skala Bim. Now, I've gotta say that the place was pretty damn packed when these guys went on and a whole bunch of people were dancing. I just didn't get it. I mean, sure, you had the basic Ska beat, but they also have this guitar-guy that seems like he just got finished playing at some 70s arena-rock show. His playing was so incongruous that I just had to leave the room. I've seen The Skatalites a couple times over the past few years. I'm never sure what the night will bring. The best shows come when they veer away from excessive jamming/soloing and just play the songs. Like "Phoenix City". This time around was somewhere in the middle. Things seemed to pick up as the night wore on, though, so I left pretty happy. I'd missed the first show by the new lineup of The Vacant Lot, so I was pretty eager to check out their show at The Right Bank in Brooklyn on Saturday the 3rd. Roberta and I checked in way early, but what the hell. This was a weird place - a strange feel to it that didn't make me feel too at home. But what the hell, they had good fries. While I'm not yet ready to say this was the best V. Lot show ever, it was still pretty good. I just would've been more comfortable with the old crowd... or even a crowd that didn't include a couple complete loons. But the band did some of the old stuff, mainly from the second LP, but with a dose here and there of earlier stuff, plus some new material. And, happily for me, they ripped into the song that got everyone revved a few years back, their version of The Real Kids' "All Kindsa Girls"... sort of the band's signature song. The following Friday was the 9th and I was happy to have a good reason to stay local. The bill this time at The Court Tavern featured Atlanta faves The Subsonics, joined by Sit N'Spin, doing their first gig with an all-new lineup, and The Grip Weeds, with Ivy doing the Mind's Eye Light Show. The Southern bunch kicked off the night's festivities, doing themselves proud. It just seems so unfair that they come up here and always get slotted as the opening act. This bunch deserves way better. They have a kind of speed-freak Velvet Underground feel to them, kinda calling up ghosts of The Voidoids and early Gun Club, along with shades of The Sonics and The Gories. They did stuff from just about everything they've put out to date, with the title cut of the second disc, "Good Violence", clocking in as one of my all-around faves. This was Sit N'Spin's first show with their new lineup. This time around, Heidi's added a second guitarist, to give her room to roam. Unfortunately, I wasn't a major fan of the girl's backing vocals - they just seemed flat. Or maybe it was that she gave the impression of someone trying to be too "rock". I miss Sue Stanley's voice, sweet and melodic, the perfect complement to Heidi's songs. (Rumor has it she's considering re-enlisting; keep your fingers crossed.) The gal on drums was pretty solid, but the guy on bass just looked out of place. He played fine, but physically he just didn't fit: a tall guy next to three short girls just didn't work. On the other hand, he really stayed in the background. Somehow, I get the feeling that he's not permanent. The Grip Weeds played through an assortment of stuff, including at least a few from their debut disc. Unfortunately, by this time I was pretty wiped, so I stood back and watched Ivy do the liquid light stuff. It made me realize how much I miss the old Mind's Eye shows. And how certain things can never be completely recaptured. Back again to the Court on Saturday the 17th for The Friggs. Plus sets by Mildred Pierce and Birthday Girl. I walked in a couple songs into B-day Girl's set and immediately stepped back: too loud for not enough payback. But every once in a while I was drawn to the front. Their music would be sort of poppy/quirky, what with the lead vocalist's quirky delivery. Sort of a little kid who just happens to be the - yeah, you guessed it - birthday girl. I gave 'em a chance... while I didn't run screaming from the room, I soon realized that their 45 was not something I was going to give up a couple bucks for. (Even if it did come with a promo Birthday Girl balloon.) I think my major problem here was the guitar-guy, who noodled way too much. But, hey, they did a fair version of Cheap Trick's "I Want You To Want Me", so it wasn't too bad, really. And, hell, I don't think I've ever seen another group from New Hope, PA. I'd been meaning to check out Mildred Pierce for quite some time. This is the group that ex-Sit N'Spin drummer Chris is currently full-time with. (Earlier in the evening, I teased him about liking situations where he was the only guy in the group.) I'd heard from various sources that I might enjoy them, so I made sure I had an unobstructed view for their set. And I was well-rewarded. This bunch really has it together. Strong songs and they know how to put it over. The lead singer has a powerful voice and - unlike many singers - she doesn't drop off the notes she's singing, or resort to kiddie-delivery to make up for lack of talent. Backing vocals come courtesy of the guitarist Cheryl, who handles that duty pretty well, too. Their vocals mesh perfectly, creating an effective 1-2 combo. The secret weapon comes from bassist Michelle, who usually stays in the background keeping the bottom end moving fluidly throughout. But now and again she moves up to the mic for added backing vox and proves herself to be more than capable in that regard, as well. While I was looking forward to certain originals from their debut disc (which I don't have yet, but is at the radio station), as well as their take on "What A Way To Die", the big surprise came with a cover of Kim Wilde's "Kids In America". Just one of those songs that defines my high school daze (Piss Off! to those of you who can't stand the alternate spelling). Which meant I got a chill up my spine upon hearing it... and they slammed me back to the here and now by jumping tracks to "Beat On The Brat" for a verse and then hopping back. Damned impressive show. On, now, to The Friggs. I've been a Friggs' freak since just about the beginning, but they just keep getting better. A good part of the credit should go to drummer Kami, who's only been with them since last summer, but... well, let's just say I'm glad I'm not her drum kit; I'd be a bloody pulp. The show included mostly Friggs' faves from the last year or so, but still included old standby's like "Shake", "Bad Word For A Good Thing", "Girl Power", and "Cheatin' Song". The gals have really got things pumping these days, with stuff like "Juiced Up", "On The Scene", and "Kill Yourself" going on, they're more powerful than ever. Like I said in the intro, Roberta and I spent New Year's weekend in LA. So for New Year's Eve, we made our way to Hell's Gate, where we were looking to catch The Lazy Cowgirls gigging with Arthur Lee & Love. We showed up just after midnight, figuring we'd probably catch the beginning of the Cowgirls and then all of Love (or vice versa... whichever). What we didn't count on was LA's 2 AM closing time. Which they seem to actually take seriously! And so we'd missed The Lazy Cowgirls. And probably the start of Love's set. We walked in to find Arthur Lee onstage, sitting on a stool, guitar in hand, mic in front, flanked by two other guitarists... but no rhythm section. Evidently they'd never bothered to show. (Must've been too late a show for them.) Things started off pretty slowly. Roberta turned to me and asked, "You actually like this stuff?" Well, yeah. But Arthur had yet to get to the hits. And when Roberta heard "Seven and Seven Is", she suddenly understood why we'd come. It was also about this time that I saw this maniac with a dark bowl cut grooving drunkenly only a couple feet from Mr. Lee's face. Could it be? Yup! It was everyone's favorite Peruvian export, Edgar (who I found out later had been in Los Angeles for seven months, but would soon be back in NYC), the guy that NYC types had, once our hapless victim had done his ritual passing out, decorated in accordance with the spirit of the night exactly one year earlier. Not long after this one, Edgar tried to say something to Arthur, to which Mr. Love replied, "Why don't you get your Colombian ass back wherever you came from?" And later, "Am I gonna have to kick your ass?" I kinda felt sorry for poor Edgar, being picked on by one of his heroes like that... but I guess Arthur Lee, like me, isn't a big fan of sloppy drunks. Well, anyway. Even without a rhythm section, Love were pretty amazing. Yeah, they did other hits... "Signed DC" and "Little Red Book" included, and those, especially the latter, got this crowd going pretty nuts. Later on, a pretty fuzzed out guitar battle was fought. Usually, I'm not much of a fan of extended guitar bits, but this raged on - sheer wildness. I hadn't made it to any of Love's NYC-area shows, but I'm glad I checked him out in LA. Even if there weren't more than 30 people in this overgrown closet (including the bouncers). Usually, when you show up at an NYC club at 10 PM on a Saturday night, business is sort of slow. On average, it isn't before 11 or so that things start shifting into gear. But at Brownies on Saturday January 7th, Mildred Pierce were kicking off the night's festivities. Translated, then, for those who aren't yet up to speed, that means the place was already kickin'. Like I said before, this is a group with a vocalist who knows how to handle herself on-stage. And she's backed by a band that hits it nice and hard. "Candy" is a current favorite of mine, hopping punk-beat stuff not unlike The Beatnik Termites for most of this quickie, but with an effortless downshift into a smoother, easier section... and then right back at it. And while they didn't do "What A Way To Die" this time around, their version of "Get Right Back" is always a crowd-pleaser. Finishing up with "Kids In America" (again with the transition into "Beat On The Brat") they left the crowd in Saturday night overdrive. As many of you have no doubt surmised, I wasn't overwhelmed by the show The Vacant Lot did in Brooklyn in December. Sure, I enjoyed the songs and stuff (and was more than satisfied overall), but the mix wasn't completely right and things weren't completely together. Well, worry no longer, fans; their set at Brownies this night may have been one of the best they've ever played. (And I'm not limiting this to the new lineup, either.) Pete and the boys were soaring this night. Afterwards, Mr. Ciccone claimed they were a bit sloppy... No way! One fan said they were playing too fast for her to dance. To that I say, "Deal with it!" The guys mixed things up nicely, with material from both LPs, covers of Boyce & Hart's "I Wonder What She's Doing Tonight" and The Barracudas' "Neighborhood Girls", as well as some cool new ones (including as yet untitled numbers simply referred to as "Song in D" on the set list). And, fast as they play, the guys know that change-ups are a necessity, and cover those bases completely with fan faves "Remembers Me" and "Blue My Mind". Damn! This was an incredible set! Lead guitarist Mike was flying out on top as the band charged full-tilt into the fray. If they keep this up, they'll be ruling the New York roost all over again. IN BLACK AND WHITE It was starting to look like I wasn't going to have any literature to recommend this time around. The usual gang seem to be on hiatus and, what with finals, I haven't had time to roam too far afield in search of cool reading material. I did pick up The Wedge at Cheap Thrills, after seeing it listed in the Estrus Mail Order Mecca. Attracted by features on The Hentchmen, The Trashwomen, and Jackie & The Cedrics (this is #1, but #2 has been out for a while now, as well), I bid a fond farewell to two George Washingtons and proceeded to peruse the pages. I felt an odd mixture of attraction and repulsion while reading this thing. First off, not being much of a gearhead, I didn't understand what the hell this guy was talking about half the time... all the references are to either car stuff or surf slang. While I have a working vocabulary on the surf end of things, my car-speak is of the pidgin variety I know 'oil change', 'flat tire' and 'it goes rrr-rrr'). OK, I understood what he was trying to get at, but lots of the stuff fell flat because I'm just not up on the terminology. Call me ignorant. The Wedge is very much a home-grown type thing... no computer, no mega-layout stuff. Oddly, while this is far from pleasing to the eye, that's where the strange attraction part comes in, too. See, this kind of thing (which somehow seems way more DIY than anything done on a computer) reminds me of the pre-PC (either meaning will serve here) days, when mags like Trash Beat and 99th Floor ruled the roost. On the other hand, this guy doesn't quite compare to Mike Stark or Ron Rimsite on the writing front. (I probably wouldn't have minded as much if he'd gotten all his facts straight... or at least bothered to check some of them.) Normally, I'd be quite psyched to read about the groups named above... but too little is delivered. These are articles? I'd like more depth. Still, at least the guy's got taste... gotta give him that. Add in an 'advice' column ('Dear Dr. Moondawg'), a 'Horror Scope' which files me (usually a Scorpio) as 'Rat Fink, The Kahuna' ("Major bargains at Junkyard Kid's house this month. Be prepared to have a big thrill on those zebra-skin seat covers you put on your bucket seats..."), and some reviews (focusing on surf comps), and that pretty much wraps things up. If you're interested, it's $2 to The Wedge, 2994 Jacob, Hamtramck, MI 48212. A week later and slowly things are trickling in. For the first time in a while, I've gotten an issue of Speed Kills. Evidently, editor Scott sent #6 to my old address at the beginning of October. Granted, it takes a little time for things to get forwarded, but two and a half months! And they're raising the postal rates?! I mean, even 4th class mail should be flyin' quicker than that. As any of you who are familiar with SK are aware, this thing isn't completely in line with my own particular obsessions. Still, the interview with Mr. Norm ("Mr. Norm's Grand-Spaulding Dodge") was really a fun read... definitely a story that can appeal to an audience wider than just the racing types. Wildgirl zeroes in on one of the greats, offering up her transcription of what transpired when Evel Knievel spoke at The Grand in NYC. If, like me, you missed it, this is the article to hear what your childhood hero had to say. Anyway, if you're into cars, SK kicks... this is the 'zine to read if that's your bent. (Would you believe that somewhere out there in middle-America there's an "attraction" called Carhenge that's exactly what it sounds like? No? SK's got the photos - and story! - to prove it.) Also featured are The Beastie Boys, Slant 6, plus tons of reviews (some I agree with, some I don't... but that's me). Also a free Superchunk 45. Send $4 to Speed Kills, PO Box 14561, Chicago, IL 60614. (E-mail 75111.645@compuserve.com). Well... if cars aren't your thing, maybe pinball is. And so we visit once again with the fine folks over at multiball HQ in Boulder, CO. Ish #5 starts up (after the usual intro, letters, and math problem) with an article about a Usenet (that's Net-stuff, gang) group called rec.games.pinball, something I checked out immediately upon my return from LA. What's cool about multiball is that this bunch does their homework: they check out the history of what they're writing about. For instance, anyone who's played video games at an arcade in the past decade knows about buying extra lives or whatever for another quarter. Well, it seems some pinball manufacturers have considered the idea, as well. But here, co-editor (or 'Mecha Godzilla', to use this issue's official title) Brinda Coleman gives us the lowdown on just how deep the roots of this go in pinball. Where it all began, etc. Brinda points out that this feature, while quite acceptable in pattern-oriented games like Tetris, etc., are of little use to the pinball fan. After all, pinball is NOT a game with set patterns. Something different happens every time - that's why we love it. That (in addition to its physical nature) is what makes it so much better than its 98-pound weakling cousins. Also in this ish is a story with Rod Serling stepping out of the Twilight Zone pin, trying to play the part of God, with the main character putting ol' Rod right in his tight-assed place. Add in a few more features, a look at one of Bally's latest, Corvette (the verdict is favorable, but not overwhelmingly so), some record reviews, plus a look at a few cool places in Nebraska and Colorado for some prime pin-time, and the MB folks once again emerge victorious. This one says "no toll", but send 'em a buck for encouragement - High Infidelity Productions, 2525 Arapahoe Ave., Suite E4-170, Boulder, CO 80302. Back issues go for $1 a pop. Thank You!!! Finally... something NEW! And it's from occasional TS staffer Eric Fusco. Interzone #1 is, like most cool zines, a reflection of its creators obsessions. As Eric the Ed. puts it in his intro, this is a "magazine of the hidden dominions. (...) a world of obscure records, unknown facts, unappreciated movies and various arcane knowledge." After this quick intro (certainly shorter than I've managed in quite some time), Eric gives the lowdown on a few comic books and then tears into the raw meat of his debut ish. First up is a look at the old Jimmy Olsen comic books, something I can proudly (?) say I've actually read a couple of. Eric mentions a few of the best adventures of "Superman's Pal", but scores the biggest points when he gets down to The Big Question: why didn't Jimmy get laid? "C'mon, the guys who hung out with Elvis got laid just for being pals with E. Do they expect me to believe, if you're Superman's Pal you can't get some?" Now, Eric's written about a few things in the TS, but many of you will remember one of his fave subjects is videos. Once again he reports on the best addresses to write/visit to obtain cool rock'n'roll vids, as well as "TV stuff" and fun flicks. Next up, another occasional TS-staffer, Mr. Pat 'Hotfoot' Lozito, on the great Alfred Bester. Hopefully, SF fans know who this guy was, but, truthfully, the rest of you should get hip to AB's writings. Pat provides an overview. On to the records. First up, Eric gets in his shots as to the ten best LPs of '94, then on to The Platterpuss (HEY! This guy's stealing my staff!). And that's that. Send a buck to Invisible, Inc., The Statutary Building, 76 Jackson St. #8, Hoboken, NJ 07030. Also gracing my mailbox over break was a holiday message from the For Paper Airplane Pilots gang. While this one-sheet thing was supposed to just be a pleasant seasons greetings, etc., they also managed to have a little fun explaining the depth of daily comic strips. Garfield rubs lemons on his face 'cuz he's heard it's good for the skin, resulting in his face puckering up something fierce. The commentary: "Garfield fails to see the improvement because his face no longer has eyes -- it has been transformed into an anus! Jim Davis masterfully captures the essence of what is known as "butt comedy" here in this commonplace scenario." Send a dollar to FPAP, PO Box 12011, Gainesville, FL 32604. (E-mail trey@UFCC.UFL.edu). It looked for a while there like we weren't gonna get a new issue of CapSoul Reviews in time for this month's deadline. But The Skeever snuck in right under the wire with his first issue of the new year (#6). No longer is this a 'zine completely devoted to thrift store vinyl discoveries. The "iditorial" this month is "Drip Rock Continues To Boom", concentrating on: Rickie Lee Jones wannabees; "other mothers of rock" such as Cher, Ethel Merman and Tiny Tim; and "baby voiced female singers like Juliana Hatfield and Lisa Loeb." Feel the wrath of the CapSoul crew. Now, the Skeever has long been known as a guy who delves deep into certain areas of music that interest him. One of these is Hawaiian guitar stuff. And so when he saw the advertisement for a Hawaiian Slack-Key Guitar Festival in a certain NYC weekly best suited for lining pet cages, he got pretty excited. He even asked me if I'd be going. (Uh... No!) The ensuing article is entitled "What Was I Thinking?" That should give you a clue as to how it went. Editrix Chip Hanze informs us of the names of Billy Ray Sire-Us' daughters (Brazen & Destiny), and then launches into a tirade about the return of the annoying perfume of her teen years, Charlie. I won't even get into the note from Helga Testorf, "the famed Andrew Wyeth muse" who has "been purchasing nude art books of HERSELF by the bushel." (Well, I guess I just did.) Under "Tales of the Encrypted", Skeever recounts some stories he picked up on the ClariNet newsfeed. Most of them I'd already seen, since he keeps me well-informed of this stuff, but in case you're not hooked in yourself, this is must-read material... at least for those with an eye for the bizarre. Also included is a short bit on piano players Meade Lux Lewis and Jimmy Yancey, plus Lou Reed's paranoia. And, of course, the usual record reviews. Including Captain Kangaroo ("America's favorite pedophile apparent"), Pupi Prado ("sounds like it came out of Perez Prado's ass... sleazy and less tasteful!"), and The Surfaris ("As bold and beautiful as a bar-mitzvah band doing speed balls.") Send $1 to CapSoul Reviews, 31-62 29th St. #6M, Astoria, Queens 11106. (E-mail to skeever@pipeline.com). And yet another old pal just edges under that damn wire. This time it's Larry Grogan with Evil Eye #14. Anyone who reads this mag on a regular basis knows that it contains some of the most lucid writing in 'zine-land. Unlike most of the rest of us schmucks, Larry actually tries to keep people aware of what's going on around them in more than just the musical arena. His editorial this time is "Nineteen Ninety Fear The Year In Review", in which he warns of what is likely to happen with the Republicans in power, especially if we all sit on our kiesters and twiddle our thumbs and other parts. (Oops! Can't talk about nasty stuff like that... at least not if you're Surgeon General.) Larry talks about some of the issues and what's wrong with this country. His advice is as follows: 1) Turn off your television and READ something. 2) Counter the bullshit... stick up for the TRUTH. Don't let lies go unchallenged. 3) Teach your children critical thinking skills... Teach them that disliking someone because they don't fit a narrow stereotype of 'normalcy' is wrong. 4) VOTE, VOTE, VOTE, VOTE, VOTE, VOTE! Instead of a couple average length articles, this time around, Larry marks the passage of Fred 'Sonic' Smith with a 6-page (!) history/tribute to the MC5. Reviews include The Beatles Live On The BBC and a new Mod group called The Gain with an EP I'm gonna try & find called Quadroburbia. Send $1 to Evil Eye c/o Grogan, 3 Tulip Ct, Jackson, NJ 08527. PURE AND UNCUT: WOW!!! I'm not worthy, I'm not worthy. Throw in any other exclamatory-type compliment-things you want. The Yum-Yums' "Girls Like That" 45 (Screaming Apple) deserves every one. These Oslo power-poppers (extra helpings of both power and pop on this one, folks) are really onto something. All three tracks keeps begging me for airplay (and, being the sucker I am, I give in). Power... Volume... MELODIES! "Girls like that don't seem to want to talk to me." (Yeah, tell me about it!) While it was the A-side that got me hooked (and I still am), both "All The Way" & "Need Your Love Tonight" are just as strong, with the latter stomping on the accelerator. In fact, I can't pick a favorite; whichever one's cavorting joyfully around my hi-fi at 45 revolutions per minute on my hi-fi is my pick-hit of the moment. With just one single these guys have already catapulted into my pantheon of pop gods. I can't say enough good things about this. Just go out and buy it. If you can't find it, get it thru mail-order. This stuff's just plain irresistible... you'll be singing along on the first chorus. In the case of The Swingin' Neckbreakers vs. Lame-Brain Butt-Stains, we enter into the record yet another piece of evidence, the powerful rock'n'roll waxings of the former on "You Better Dig It"/"Come On And Sing" (Screaming Apple). Upside's the tough track, with Tom's leather-lunged vocal shoving it down the throat of every 98-lb. weakling on the block. As raucous as that one is, though, I prefer the more party-oriented flip, as much an invitation to get up and dance as to "come on and sing." And so we see, oh good jurors, that The Swingin' Neckbreakers are once again victorious. With "Go Little Sputnik"/"The South City Shingle & Shake" (Radio X), The Brentwoods once again prove that one need not pay some "sound engineer" good money to make a fun record. And, to be honest, my favorite part of this little mini-burger might just be the dialogue before (and after) the actual songs. (Both of which are just about the same kinda thing you heard on their previous efforts... fun 60s pop & roll, with no-fi being the order of the day.) In fact, it seems to me the "radio" stuff after the song on the flip actually has better sound than the cut itself. Fun, though. I liked the first 45 I got by The Boss Martians, but decided I'd hold off on the others upon receiving reports of mediocrity from friends. Well, after hearing their latest, "She Makes Me!" (Dionysus), I'm gonna have to reconsider. This is pure mid-60s style fun rock'n'roll, something like the Untamed Youth (tho' not quite as wild). Yeah, there's surf overtones ("Cape St. Francis" rides that instro wave all the way to shore), but the main intention is that a good time be had by all. With the topside, plus their cover of "Keep On Dancin'", these guys are a group to watch. Wish they'd make an East Coast run. Sometimes I think I'm getting to the point where I need another instrumental record as much as my brother needs to crack his head open again (he did it about six times as a kid - including slamming his head into a goal post while sledding.. but that's another story). Inevitably, though, some group comes along to change my mind. This time it's Satan's Pilgrims' Haunted House of Rock EP (Estrus). "Haunted House" is the perfect musical tour for the Hallowe'en haunt. On "Super Eight" the drums are deep, to go along with the big bottom bass booming, the perfect counter for the guitars chasing around on top... till they all run down together. As I've mentioned in previous issues, I often tape a bunch of the 7-inchers that I review for this things; it lets me listen to them when I'm driving, get them deeper into my head. So, as I drove past the famed Staten Island dump, I suddenly heard something that made the smell fade to the back - something that sounded like an instrumental take on an old classic, "Shape of Things To Come". So I looked down to see what it was... Hey! It was! And it works, too, just like it worked when The Ventures used to do this sort of thing. Personally, I like The Witch Doctors CD more than their "Goin' To A Graveyard" 45 (Screaming Apple). Maybe it seems like they're trying too hard. Like The Morlocks or The Worst, the singer is just affecting a style here, rather than letting his own personality shine through like the best stuff on the disc. None of the tracks on here is bad, but none of them is great. If all you're looking for is one more decent garage record to add to the collection, then go ahead and grab this. But if you're looking to pick and choose, pass over this and just buy the CD; or grab the "I'm So Restless" 45 if you're just looking for a taste. Most NJ-types know that Sit N'Spin is down to one original member, leader/ guitarist/vocalist Heidi Lieb. But why let a piddling problem like no band members keep you from recording a 45? Heidi didn't; she got together some chums from The Grip Weeds (past and present) for a seasonal offering. "Santa Claws" (Worrybird Disc) is the result. Let's cut this short... Did you like their first 45? If you did, this one is ten times as strong as that one. As for the rest of you (those without a clue), Ms. Lieb punches the punk-pop, making way for good old melodies. This thing sounds real good, too - there's a real snap to the production. The whip cracks down and those melodies bite in. (And check out the lyrics 'bout Santa!). The flip features instro takes on "Auld Lang Syne" & "We Three Kings" (done as the "Nightmare After Christmas") which are cool in a Ye Olde Surffe sorta way. I've written about The Subsonics enough in the past that regular readers know I think they're something special. There's a frenzied, jittery, hopped-up feel to Clay Reed's guitar-playing. Evidently some critics have annoyed him by saying all his songs sound the same. Well, that's not quite true. It really gets down to whether they've listened to the tracks. After all, it wouldn't be hard for someone not interested in garage/punk to say all of it sounds the same. (Hell, some people say all rock'n'roll sounds the same to their ears. Go figure.) Most bands have a sound; The Subsonics are no different. And once you've been drawn in, they've got you forever after. And then you start exploring. "I'm Looking Over My Shoulders" (Lance Rock Records) sees them exploring in pop territory. Sure, this thing both rocks and rolls, but the melody is just sweet enough that I keep spinning it over and over. Yeah, this aspect of the band's been seen before (even back on the debut 45, during the change on "Please Kleen"), but this is it in spades. And just to prove that "they don't all sound the same", down below, they give us "Spooky Tricks" and "Fly", both instrumentals, with the former falling into the thick garage-root camp and the latter sounding, as Clay explained, "just like a fly." When I got the first Nardwuar comp, Oh God! My Mom's On Channel 10, I remember reading somewhere that The Teen Challengers were The Untamed Youth under another name. Now, looking back at the booklet contained therein, it's pretty obvious, especially since the song included is "Doin' Me In", the first track on this 3-songer Derek Dickerson's dug out of the vaults for release on his own Teen-Rage Records. From the liner notes, "You think punk rock is a bunch of 30-year old British guys with goofy haircuts & combat boots? HAH! Try four kids from Columbia, Missouri with no money, no friends, no chicks, driving the family station wagon that had to be home by 11 p.m. -- man, now you're talkin' FRUSTRATION!" These are the first recordings ever of the guys, from when they were still all in high school in '87. This stuff is pure punk - energy, attitude, and sheer wildness. You want proof that 60s garage-style stuff is punk? This is it. You get the feeling that all that teenage rage broke through the floodgates that fateful night. It's evident throughout "Doin' Me In" and "Make You Mine", and afterwards, to celebrate, they came up with the first version of one of their later "hits", "Pabst Blue Ribbon", after getting the engineer to buy it for them at the 7-11 down the block. This one's a must. I first heard tell of The Beauticians via The Smugglers' newsletter. This "nouveau pop" group includes Schmugs bassist Beez moving over to guitar. A couple weeks back I was at the radio station, finishing up my show when Music Director Max came in with that day's mail... including this 45, "New Age Song For A Cynical Generation" (Cheemo). And so I plopped it on ye olde turntable for a spin. For those who were listening in, your first earful of these whimsical sounds was mine, as well. This one happened to ring my doorbell the same day as an old friend of mine. So later on, I slapped it onto my home hi-fi and waited for the reaction of both girlfriend Roberta and old HS dance partner Sue. Both of 'em were immediately up for it. Fun pop music with viola and violin. (PLEASE don't think "artistic statement" here, 'cuz that's got absolutely nothing to do with this.) The strings here just add to the happiness. Finally, a curiosity of sorts. I'd seen this bugger hanging on the wall at Cheap Thrills for a while, but wasn't ready to plunk down a fiver for it. I mean, it's only two damn songs after all, even if they are by those masters and mistresses of fun-punk/pop, The Shitbirds. So what's the catch? Well, it's a five-incher. A what? Yeah, that's right... five-inch vinyl. What will that Long Gone John think of next? The casing is just like a cardboard cover CD case, but inside is this tiny piece of round vinyl. So why did I end up spending the cash? Well, after the $4 in store credit I got for trade-ins, it was the only thing I really wanted that day, so... hey, it's Christmas-time... why not treat myself? And, as it turns out, the band delivers the goods. "Faster and Shorter" (SFTRI) reminds me strongly of something, but I can't figure out just what (give me six months). But it's "Unterscholl" (sorry I can't translate - I'm just not up on my German; it is German, right?) that gets me going. This is primo Shitbirds (much better than the surf instro experiment they did), right up there with the debut 45 & the ten-incher. Want an obscure reference for a comparison? OK, this band sounds like the M&Ms. Did that help? For the normal folk in the audience, this is just real happy melodic punk rock. Smiles with a revved-up beat. Grudge Matches (Or Not): First on tonight's card are The Makers, "Selling Purple Hearts" coupled with "Rich Kids". Challenging The Bad Boys from Spokane are some Japanese wildcats, Magnitude 3, offering up their versions of "Blues Theme" and "Out Of Our Tree". This match is hosted by Sympathy For The Record Industry. The challengers take a skeletal approach to the Davie Allan classic, which means it doesn't pack quite the same wallop as The Arrows'. There just wasn't enough sound. We get female vox for their Wailers workout. Unfortunately, the only time I even had a clue what she was singing was on the chorus. Luckily the guitar track manages to make up the lost ground, fuzzing out all over the place. But the champs easily overcome this challenge with a couple killer originals. While more than a few people out there are anti-Makers (some with valid reasons), I'm in their camp as long as they keep spewing this kind of venom. Mike's vocal has that snotty 60s punk sound to it and the band avoids all traces of subtlety, mowing down the competition with ease. The other featured attraction sees Sick & Wrong, with "Knife", going after The Statics, who are up to their usual tricks with "Jellystone National Park" (the 'with Donny mix'). This funfest is presented for your entertainment pleasure by the fine folks at 8 Van Records. This card is obviously only worthy of second billing, as S&W just aren't completely my thing, at least not on this one. Still punk rock, but just nothing I can really grab onto. The Statics easily overpower their opponents with a stronger version of this track than the one on the disc. This one hits it hard, kicking, punching, rocking, rolling, banging, and whatnot. It won't make hi-fi snobs too happy, but that's not my problem. The guitar here is nice and loud, sucker-punching every chance it gets. I Must Be Slipping: Only one LP. Gone are the days... blah, blah, blah. Sticking with The Statics, then. My initial wig-out over this bunch came about a year and a half back when I heard their first two 45s within about a month of each other. (Actually, I think I heard the second one before the debut, but my guess is you don't much care.) As I may (or may not) have already said, I still think the EP with "Hey, Hey" is their best record, but their debut LP, Rat City is a damn fine effort. If you can't deal with the lo-fidelity aspect, that's your tough toenails, 'cuz you'll be missing out on some real fine punk-chuggin'. Both sides start with white hot instrumentals (Note: these kids don't surf -- ed.), and then crash head-on into the guard rail to come out grinning. "Burgers & Fries" shows this bunch believes in the very same food groups as yours truly. As they put it, oh-so-eloquently, "I'm gonna get me / some burgers & fries." "Do The Russell Quan", about that lovable Mummie-man, is just plain fun... it's time to jump up and down with Russell. "Don't Mess With Us" makes a repeat appearance on this LP, just in case any of you missed out on the 45 version. But the hit single on this is the "pop" number, "Take Me Out", as Diane has evidently sucker-punched Zack and stolen the mic. On this beautiful "love" song, she describes a wondrous date in which the guy takes her around town and buys her stuff. Isn't rock'n'roll fun? Seriously, though, yet another winner from the home of the hits... Rip Off Records in sunny San Bruno, CA. Sheen Scene: I still haven't gotten around to grabbing the latest full-length offering from The Hoodoo Gurus, but a recent trip to Cheap Thrills with cub reporter Cunningham netted us each $2.99 copies of a related 5-song EP, The Right Time (Zoo/Praxis) The title cut is the only track off the Crank CD to be found - the rest are listed as bonus tracks. I don't know about the rest of you, but I don't have that disc and hadn't even heard anything off it. (Guess it comes from not listening to much commercial radio... tho' it's my guess that the Hoodoos still aren't getting their due.) Anyway, if there are any other cuts on Crank as good as this one, I just might have to pick it up when I get some cash again. Classic Hoodoo Gurus - rock and roll with those pretty soaring vocals that grace all the best Gurus' stuff. Add an irresistible melody to a strong rockin' track and this thing flies straight to the top. The Brad Shepherd-penned "Road Hog" begins with a security blanket acoustic bit that gets shoved off the stool by an electric lead... soon joined by a keyboard sidekick. And HEY! This thing turns out to be a tough biker-movie style instro, with the guitar ridin' high... till that acoustic guy gets up for a second to pick his merry tune... and consequently gets knocked off again with yet another backhanded swipe. "Wait For The Sun" gets back on the semi-melodic track, but "End of The Line" pressed the old Memory-Recall button. The beat is straight out of "Leilani" and the melody comes from somewhere around the Mars Needs Guitars era. Further proof that the HG have not lost it... that Faulkner, Shepherd, and Co. refuse to give in. (Nice harmonica on this one, too.) But to be honest, the reason I picked this up in the first place was the last cut, a live version of "Television Addict", the first song Faulkner ever had on a record. This one comes from his days in The Victims in Australia in the late 70s (there's a great six-song EP comp of their recordings if you can find it). And once again The Hoodoo Gurus show they've still got the right rock'n'roll stuff, 'cuz they give this one all the attitude and disgust that the original does. Only one difference - they kick it much harder. Buy this disc! On that same shopping excursion (taken, for some reason, right after my weekly radio show), I snatched up a copy of The Witch Doctors' A Go-Go disc (Dionysus). Of course, I did have some inkling what they sounded like: I already had a previous seven-incher, "I'm So Restless" (which appears here in live form), which raves on in style. Not to mention The Platterpuss' seal of approval for their latest seven-inch waxing (on Screaming Apple, see last issue -- ed.). But while The Puss compares them to The Cynics, The Vipers, and vintage Chesterfield Kings, I'd have to put them closer to The Gravedigger Five and The Telltale Hearts. In fact, the only place I feel a major Ches. Kings force is on the moody "Storm Clouds" when the singer comes real close to the way Greg Prevost handled that sort of thing. Lots of spook-tone organ here, with just about everything falling into the intense gravity well of pure 60s cave-stomp. The pick hit here, as far as I'm concerned (and since I'm writing this...), is "I'll See If She Cares" with an intro copped from "My World Is Upside Down". The dives around, swirling fluidly throughout. "Don't You Think" sees the guys hitting the accelerator a touch; definitely a live fave. Nice bridge, too, changing tack, just barely holding back until everything breaks loose for garage-punk pandemonium. The disc includes four live cuts, including "Ballad of The Melting Man". The guitar intro on this one comes out of "Think It Over", but the song quickly moves into pure garage-punk territory, first with cool Beat harmonica pumping, then with everyone else jumping in. This may be the best track on the whole thing... the guitar really screams here. The organ's no slouch, either, pulsating in perfect sync with the whole goings on. Extra points for some steamy instro ravers. Let's change tack a bit. A few years back, Drivin-N-Cryin's lead throat, Kevn Kinney, put out a solo folk disc and hit the road with Peter Buck in tow. Well, Kevn's back with yet another, Down Out Law (Mammoth). And this one is far from a sophomore slump; actually, it's an improvement. I liked the first record, but this one sees Kevn more in tune with this sound. On the more folk-type tracks, his guitar is gentle. Some of the better tracks of this bent include "Down & Out Law" and "Save For Me". Granted, he misses a couple notes, but that's not a major fault in my book. (Obviously.) The first hint that this isn't gonna be pure acoustic folk comes with the fourth track, a WAKE UP!!! Whomp in the face . This one goes for an electric blues with a debt to "TV Eye". Then it heads back to the folk thing, with my pick hit, "Shindig With The Lord". As he begins strumming, Kevn advises, "Listen for the hidden messages... Beware of prophets dressed like gas station attendants." Then hits the sweet spot and just ambles on, nice and free. After another soft one, it's on to a slow blues. And then a harder electric blues, "Chattahoochie Coochie Man". Grab a few more folk strums then a spoken "Epilogue" and an encore of sorts, "A Beatnik Haight Street Kerouacian Ripoff In E", sounding just like it would have to for that name - big standup bass jazzing behind the speaker doin' the beatnik thing, but not taking itself too seriously. I know this isn't usual TS fare, but its definitely worth it for those who like this kind of thing. And not too radical a shift for those looking for a change of pace. Now back to our regularly scheduled programming. Another one that's been out for a bit is The Goldentones' Atlantis (BigMom). It was in playlist at 'RSU for a bit this fall, but fell out pretty soon. Too bad, 'cuz this is pretty strong surf-instro stuff. The title track "F.FWD" sets the pace, takin' the wave straight thru Surf Central. heavy on the melodies. "Aurora" goes for the slow, moody feel, while "Midnight" only slightly ups the tempo, but keeps the dark feeling going. "Kalypso" eases things up; this is surf designed to relax you, to put a smile on your face, a hammock beneath your bod, and some exotic drink (with an umbrella... obviously) in your hand. "Spitfire", on the other hand, seems more interested in getting you movin' around. Dancing, even. These guys pretty much cover it all, taking the gentle, romantic side of Surf-town with the last cut, "1961". Extremely listenable. It's been a while since I got something new by Victoria, BC's #1 export, Bum, so I was quite happy upon finding my latest Estrus order outside my door. This one, I Am Superwoman (Au Go Go), is a comp of sorts, throwing together cuts from various 45s, plus some stuff I hadn't heard before. Not that it matters... I've come to the conclusion that anything Bum puts out is worth the cash. I just don't understand why these Canadians haven't hit Top of the Pops yet. Hell, Green Day made it and these guys are even better. Like GD, they melodicize the punk rock bit, but their roots are more rock'n'roll... check out their versions of The Dictators' "Weekend" (from the "Bum Go Crazy" 7-incher), The Stones' "Got Yourself Together", and the Peter Perret-penned "Oh No". Then there's "Don't Come Close To Me" by Mr. Teengenerate himself, Fink. Maybe this is why Bum aren't where Green Day are: as much as they like the pop fountain, they love to wallow in the gritty stuff. Geez, they do Teengenerate almost as well as Fink & Co. On to the rest. "Your Disciple" makes its 3rd appearance... which might annoy some, but it's good for those unfamiliar with the band, 'cuz it's one of their biggest hits. I haven't seen "Your Name Was Next To Mine" before, so I'm glad it's here. This one really punches and snaps - real sharp. "1983" almost seems, musically, like a recollection of high school. (Note: This, along with the Fink & Jagger/ Richards' cuts were mixed down by The Citadel Two, Rob Younger & Alan Thorne.) Ah, hell.. just buy anything by Bum. MORE, MORE, MORE: Major Bummer Dep't: Yet another fave group has decided to call it quits. This time it's The Devil Dogs. Internal disagreements are the reason for this one, so don't expect any reunions real soon. That's the bad news. On the other hand, I hear Steve Baise has a 45 out with some Norwegian pals (I'm not sure, but I think they're called The Vikings). Meanwhile, drummer Mighty Joe Vincent and guitar-guy Andy G. have hooked up with guitar/sax-man Pete Linzell and ex-Cramps bassist Candy Del Mar under the name Los Primos. Candy's moving to the East Coast, so the group should be gigging within a few months, I guess. And there's already an 8-song EP on the way, produced down in Austin by Mike Mariconda. It'll be on Crypt / Matador. Keep your eyes peeled... Anyone hanging around the NYC garage-punk scene in the mid to late 80s should have at least some faint recollection of a night at The Strip (or some other Endsville Entertainment venue) when their earwax was blasted out by the sonic assault of The Phantom Five. Unfortunately, the boys only got around to releasing one seven-inch EP. The Levitation label is working to rectify that mistake with the release of The Phantom Five vs. The Mysterons, described in an advertisement as "The Best of The Phantom Five, 1986-1988". This thing includes three of the four cuts from the Great Jones Street EP, plus eight other tracks seeing the light of day for the first time. Get yours by sending $5 (cash or postal M.O.) to Levitation, PO Box 542, Jackson, NJ 08527... Ex-Hoods John Chilson (drums), Mike Stax (bass), and Jay Wiseman (vocals) have started a new group called The Evil Eyes, along with ex-Gamma Men guitarist Darren Berlin (lead) and rhythm guitarist Chad (ex-Constrictors/Thirst). Currently, they've done a three-song demo, have a Screaming Apple 45 on the way ("Guilty"/"You Burn Me Up & Down"), a track on the Seeds' tribute ("Girl I Want You"), and are "99% sure", writes drummer John Chilson, about a single coming out on Hell Yeah ("Gotta Be Your Man"/"Specimen")... The Insomniacs' new 45 for Outer Limits should be in the stores right around the time this comes out, or maybe a bit after. Included are "Sylvia Grey" (one of my fave tunes by the group, as I've stated oh-so-many times), "Feel" and "Gaby"... Also available sometime around the beginning of this New Year is a new 7-incher from The Friggs, on Price Harrison's Ferolette label. (Note: Price has a couple groups lined up to do 45s in the near future -- ed.) This one'll feature "Juiced Up" (a real raver) and "Mama Blew A Hoody"... New Mint Records on the way, including the second CD by Cub, the band most able to put a smile in my face no matter what. Of course, by the time you read this, Come Out, Come Out will probably be just hitting the shelves (Jan. 15th is the release date), but it'll probably be reviewed in TS #52. (Tho' I don't see why you need me to tell you about it - from what I've said about Cub in the past you should be standing in line at the record store waiting for this one... it's gonna have "Everything's Geometry", "My Flaming Red Bobsled", "New York City" and tons more great stuff.) And as long as we've got Mint on our breath, let's not forget Pluto, whose first full-length outing, Cool Way To Feel, is due out February 11th... Mondo Topless are busy recording 15 songs at Third Story in Philadelphia. Music Maniac may be interested in putting out material by the group as part of the Teen Trash series. As organ maestro Sam Steinig writes, "it depends on whether they like our new songs enough"... In case you hadn't heard, The Woggles have once again been forced to make some lineup changes. This time out it's drummer Reggie Las Vegas and the big man, guitar-guy George, who are out of the picture. Word has it that Reggie pulled a fast one on the group, telling them the night before a two-week tour that he was quitting so he could go start a job in West Virginia the next day. Nothing like being fair to your pals, huh? As for George, I guess we should give him a break; he's got some health issues to deal with and touring with The Woggles (not exactly health food addicts) doesn't help much. Never fear, however, The Professor has already pulled things together... The Estrus Cocktail Companion, the latest triple seven-inch box set from the Bellingham powerhouse is ready to crash your next party. This time around, Mr. Crider has corralled The Apemen, The Cowslingers, The Del Lagunas, Girl Trouble, Jackie & The Cedrics, Jack O'Fire, The Makers, Man Or Astro-Man?, The Mortals, Southern Culture on the Skids, Satan's Pilgrims, & Teengenerate. If that's not enough for you... Go Scratch! I'll review this thingy once I actually get my sweaty palms on it. In the meantime, the first 500 boxes are on colored vinyl, so you might want to order now... Upon seeing Nardwuar's name in a post on alt.music.independent I asked for the lineup for his next comp. He replied as follows, "[It} will feature hopefully (I hope alot), Jaap Blonk, Ne'er Do Wells, Fallouts, Platon et Les Caves, Subsonics, Tonics, Cub, Goblins, Evaporators, Leather Uppers, Harvey Sid Fisher, New Bomb Turks, Smugglers, Delgados, Drags, Joey Kline w/ Teengenerate, Sit n Spin, Joey Cheezhee, plus interviews w/ BECK and Timothy Leary. Release Date: sometime hopefully (there I go again!) soon"... The Lazy Cowgirls have signed a two-LP deal with Crypt and will be touring Europe hopefully this summer. After that, they hope to make it to the East Coast of the good ol' US of A... Also checking in again with Crypt are The Oblivians, who should have a full LP ready for said label this Spring. The Memphis mayhem-men also recorded a live LP (due out on Goner) down in Atlanta with Henry Owings (our info source) handling the knobs... And, finishing out, ex-Just Colours/Telltale Hearts/Hoods' organ-meister Ron Swart is up and running again with his new group The Ogres. No word as yet on whether they've recorded, but they're said to be doing The Standells' "Try It" & The Telltale Hearts' "Cry" in their live set. Well, that just about wraps it up for what looks to be the longest issue in TS history. Goodbye and Good Riddance. Until next time... when we check out The Optic Nerve and visit with Fortune & Maltese. BUSINESS-TYPE STUFF Back Issues: Since I've got the originals to every issue, I can still go out and make copies of just about any issue you might want. Personally, I'd prefer you didn't go below #30 or so, 'cuz I find some of these things to be an embarrassment, but the choice is yours. Unlike other 'zines, though, I'm not gonna go thru a huge list of what's in each one. This mag has come a long way in the past four & a half years, though I'd say we've stayed pretty true to the same sort of music we started with. (Ish #1 began with a review of The Gories trip to NYC with go-go gal Margaret going all out... On the first night, her top off at Maxwells, she went after rockabilly star Joe Clay on all fours - he backed away. On the next, she went after three members of The Raunch Hands... yes, like Joe Clay, they were on-stage at the time.) So here's the deal (all prices include postage, but please include a self-addressed envelope): #1 - #21: $1 for two issues. Pick of this litter is #17 (Dec., '91), with a preview of The Mummies' first East Coast visit. #11 (June, '91) includes my first taste of Estrus Crust. #22 - #34: $2 for three issues. A rant about CBGB's bullshit (#26); review of Iggy at Continental (#30); story on Nardwuar (#31); and a DMZ reunion at The Rat (#34). #35 - #46: $3 for four issues. The Muffs & The Real Kids (#35); The Swingin' Neckbreakers (#37); Eric tells a whopper & gets away with it (#38); Joan Jett at Maxwells (#39); The Spectors (#40); The Dictators at CBGB's (#42); Man or Astro-man? (#44); Bluesman vs. Blair or Southern Culture on the Skids Live (#46). #47/48 - #51: $3 for two issues (or $1, plus 55 cents postage for one). GarageShock, '94 (#47/48 - I thought this was a double issue at the time, but...); the end of The A-Bones (#49), story/review of the Fuck The Mummies CD (#50); year-end review, '94 (#51). Now that you've got that down, keep in mind that this is only a skeletal view of what's in all these old issues. Tons of reviews (records, shows, 'zines, books, even films) and news in just about every issue. (Plus more than a few appearances by The Platterpuss.) Some fun stuff, some serious; it all depends on the issue. Enjoy. And please give me time to go make copies. 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