Friday, October 5, 2018

THE COLORS: A Case of Synesthesia [1981]

Text by Julia Masi / FFanzeen fanzine, 1981
Introduction, live photos © Robert Barry Francos / FFanzeen, 2018
Images from the Internet, unless indicated

This article was originally printed in FFanzeen, issue #7, dated 1981. It was written by our Managing Editor and current philanthropic goddess, Julia Masi.

I had the chance to see the Colors a few times, mostly at CBGBs, back around the time this article originally came out. Solid hard-edged powerpop sailing among a sea of punk, the Colors never really went anywhere, though on a verge a few times, releasing a couple of records and lasting for about four years. Some of its members did pretty well afterwards, though. For example, Charlie Pipp went on to join the David Johansen Group (pre-Buster Poindexter); Robert Vickers joined the much popular The Go-Betweens, and then Jersey’s own Yo La Tengo, and he now owns his own Public Relations firm called Proxy Media since 2005; Tommy (Tomas) Cookman is the founder/CEO of Cookman International and Nacional Records,which has released over 150 albums and earned at least nine Grammy or Latin Grammy awards from its over 72 nominations, and he is considered an ambassador of Latin alternative music. But while they were together, they were managed for a time by Hilly Kristal. – RBF, 2018

A shot of adrenalin in the fatigued veins of the New York music scene, the Colors explode on stage with a rush of hardcore rock’n’roll that recaptures the spirit of the ‘60s British Invasion. But these guys aren’t stuck in a time warp. Their debut EP, The Colors, produced by Clem Burke [of Blondie – RBF, 2018] for Infinite Records, proves that they have commercial viability for the ‘80s.

Tommy Cookman, Robert Vickers (pic (c) RBF)
Tommy Cookman (vocals), Paul Sass (lead guitar), Elf (drums), Charlie Pip (rhythm guitar), and Robert Vickers (bass) have the G-rated sexy looks that teenage idols are made of. And enough confidence in their talent to know how to use that as an asset.

“People underestimate us from the word go,” says Charlie. “They think we’re a little kid band. We’re really well rehearsed. As soon as we hit the stage, we hit them with this wall of really tight music. It shocks them.”

They may look like a bunch of rowdy kids hamming it up every chance they get, but there is nothing childish in their demeanor. Dressed in the vibrant colors and military style of the Mersey Beat era, they’re as much fun to watch as they are to listen to.

Tommy, who has an affected English accent, jumps around and off the stage to spur audience participation; offstage, he’s surprisingly low-keyed for a  lead singer, with a voice so soft you have to hug him to hear him. He doesn’t care that some people are initially attracted to the band because of their looks. “It’s like Cheap Trick. When they played the Palladium, the front was all twelve-year-old girls. And then there are all these twenty-five-year-old guys from Brooklyn pushing to get to the front because they like the music. The girls like Cheap Trick because of the way Robin (Zander) looks. People make these comparisons because they see a young band instead of what they do on stage.”

“We’re very audacious on stage,” mentions Paul. “We have a career in music cut out for ourselves. It just takes a lot more time than we may have in the past. We’re very serious. We may not be in a very serious business, but we’re very serious about it. And one of the most important things about it is money. It costs money to play. It costs a lot of money to sound good. We rehearse; that’s one of the best things about having a manager. We rehearse in a studio. But a lot of artistic and musical ideas and concepts we want to put across, we just can’t. We’re not conceptual masters. We don’t have studio production on the first record. The engineer, Jay Burnett, is a genius. But to do more than that, it takes not even our earning money, because bands don’t earn money anymore. They get signed to a four-year contract and the record company that sings them figures, ‘Well, they won’t make any money during the first contract, but when we re-sign them and they make it, they’ll pay us back all that money.’ And that happened with one out of a hundred bands. And the other ninety-nine go back to being dishwashers.”

“Now-a-days, you have to build a lot more than you did before,” explains Robert, in his light Australian accent. “You think of a band like The Who, or a lot of bands from the ‘50s or the ‘60s, they didn’t have to build up anything. They just had to arrive, and once they’re there, you can’t get rid of them. Once you have an establishment, you can never disappear. The public will keep buying the records no matter what you do.”

Paul Sass (pic (c) RBF)
The Colors know how to package them-selves so that people will buy their record, which comes in seven different shades of colored vinyl. The disc is wrapped in a sleeve which spouts a full-color picture of the boys, and has its titles in both English and Japanese.

Tommy, the resident “Jap-o-phile,” takes an active interest in the financial side of the band. He knows how important it is to capture the Japanese market, and he’s aware that the largest record consumers in Japan are teenage girls. “The whole Japanese thing is nice. You see singles that come out in America and especially on the New York scene, they all sort of have the same thing. The Japanese thing just sort of gives it a real distinctive sort of feel when you pick it up. It looks like an import.”

Another unusual feature about The Colors’ EP is that one side is in 45 and the other 33-1/3. Tommy states that, “Peter Crowley was telling me that at Max’s (Kansas City), they have it in the juke box with just one side playing two songs listed, and the other has a sign that reads, ‘Please do not play this side.’ About five times a night someone plays it.” The EP, which has Robert’s “Have You Seen Her” and “West End, “ Paul’s “Rave It Up,” “Growing Up American” and “Jealousy,” proves that the band’s sound cannot be diluted. Paul comments, “The single is a mini-production. It’s almost like a mini-album. Sometimes it seems that our entire set is one song with a lot of parts and a lot of breaks. That’s our business now. We talk about going in and slaying the audience. If they’re not screaming by the end of the set, then it’s a waste of time. If they’re not climbing on the stage, they’re dumb.

“Our instrumentation has a greater range. Not more than other bands, but some bands like to use the same style of playing over and over. Maybe it’s because they think it’s their style. We try to do as many different types of songs as we can. They’re all rock’n’roll-fast.

“Working with Clem has been a really good experience because he’s taken seriously in the industry.” They’re not worried that their association with Clem will have an adverse effect and draw biased criticism to the band. “We already went through that,” Paul notes. “Last Summer, we did about ten gigs with Clem and some of them were billed as ‘The Colors, featuring Clem Burke.’ And if you know the way Clem plays drums, then you know that we couldn’t appear on stage with him and not either get blown away or be really good. I’m sure people didn’t come up to Clem and say, ‘Sure you’re a great drummer, but the band you were with was terrible.’ I think he was a really good drummer for our band. We were right up there with him.”

Last September, Elf joined the band. He received his nickname in Junior High school, where he was always the shortest of his friends. And he likes it because, “When The Colors make it big, then your family doesn’t get a lot of mail, and nobody knows where you live.” On stage, the blond, doe-eyed drummer is almost obscured by his drum kit. “Want to know what kind of equipment I got? My drums were bought by Sears. Right out of the catalog. Sears brand.”

According to Charlie, their rehearsals aren’t much different from their performances. “I always believe that the audience is there for our entertainment only. I think of the audience as being behind the glass. It’s their privilege to watch us doing what we think is cool. We don’t need the audience to make the gig. We sound just as good with nobody there. It’s a treat for them. They’re paying to see us do our professional thing, like you’d pay to see a trapeze artist do a triple somersault. When he’s up there, he doesn’t say, ‘This one is for the crowd.’ He says ‘I’ll do a flip and go downstairs and have a cup of coffee. See you later.’ The audience is just there for him. I can’t say I don’t care about them, because they’re the consumer and the ultimate goal of what I’m trying to do. But I’m not writing songs to make money and to make those people like me. I’m saying, ‘Here, look, this is my statement in musical form. Let’s dance and have a good time’.”

“Being good on the guitar doesn’t mean being like Eric Clapton or something. It’s being able to quickly transmute your ideas and feelings at that moment into musical terms. Just picking up your guitar and saying, ‘I feel sad today,’ and playing all these sad chords. It’s just another way to speak. A lot of people in New York don’t get nothing out of them. They just get noise. But even the volume and the noise are expression. To me, the epitome of rock’n’roll is getting commercial airplay. Most of the bands can’t ‘cause they’re so experimental.”

“The real musicians,” Elf says, “are those Black cats who play in jazz clubs for $18 a night. They’ll play all night long.” He speculates that rock music is “going back to where it came from. Nothing new, but different. We’ve already had classical and psychedelic. And we’ve only had rock’n’roll for 27 years. Nobody has really done anything with it since Chuck Berry. It’s been refined. People can play more guitar notes and runs faster and faster, but then it got more intense, like Cream and Jimi Hendrix. And it got more intricate with lyrics, like ELP and Yes. That isn’t rock’n’roll. It doesn’t have that beat, like Chuck Berry says, on the 2 and the 4.” Elf thinks rock’n’roll will be around “as long as you have people who want to dance to the 2 and the 4, and people who want to get drunk and play.

“I’m in rock’n’roll ‘cause I got a scrap book I can put my pictures in. I gotta have something to show my kids.”








Monday, September 10, 2018

Nancy Neon's Notes: September 2018

Text by Nancy Neon / FFanzeen, 2018
Images from the Internet
 
Live Review: The Legendary Cazbats
Club Bohemia, Cantab Lounge, Cambridge, MA
August 25, 2018, 8 pm
After my hiatus from rock 'n' roll, I was excited about seeing the Legendary Cazbats. I also wanted to bid a fond farewell to Micky Bliss, host of Club Bohemia, held at the Cantab since 2007. Before 2007, Club Bohemia had a home at the Kirkland Cafe for 14 years. It is fitting that I would say my goodbyes while seeing drummer, Daniel McCarthy play as I did my first night at Club Bohemia back in November 2000. That night, the bill was the Lyres, the Classic Ruins with Billy Borgioli, and the Downbeat 5, with McCarthy providing Jerry Nolan-esque drums. It is also noteworthy that McCarthy played on Borgioli's last recording, Boston Cream {2010} and was the last on to play live music with Borgioli before Billy’s passing on June 27, 2015.

The line-up of the Legendary Cazbats is Chris Yeager on vocals and guitar, Bob Roos on guitar, Matt Robinson on bass, and Daniel McCarthy on drums. The band set the fierce garage punk tone with "Same All Over" by the Rogues/Squires. The Chocolate Watch Band's "Are You Gonna Be There {At the Love In}" amped up the intensity. I recognized "Move" by the State Of Mind as a great Venusians' cover from their 1990 recording Garage Dazed. The performance is classic garage-punk-snotty-snarl. The band lightened the mood with Bobby Freeman's "C'mon and Swim."

The Legendary Cazbats run the musical and emotional gamut, switching it up again with the wistful romanticism of the Choir's "In Love's Shadow." A personal favorite of mine was the band's MC5-style rendition of "I Can Only Give You Everything." The Cazbats made the Count V's "Psychotic Reaction" their own by opening it up as a runaway, accelerated punk version. These guys reined it in on a beautiful version of the Gants' "Smoke Rings." Yeager and company show their love of Chicago blues on the Willie Dixon composition, "Spoonful," first recorded by Howlin’ Wolf in 1960, and then popularized in the later ‘60s by Cream. The Cazbats finish on the upswing with a pristine delivery of shimmering jangle rock, The Byrds' "So You Wanna Be a Rock 'n' Roll Star."

DVD Review:
All You Need is Fuzz: 30 Years in a Garage Band
Directed by Timothy Gassen, 2018
The Marshmallow Overcoat was an important part of the garage punk movement of the ‘80s. Timothy Gassen, under his alter ego Randy Love, formed the band in 1986. The film is one hour and 29 minutes long, including many interviews with group members, music videos, live shows, studio work, and rehearsals leading up to their final show in 2008.

The band's influences include the Chocolate Watch Band, the Doors, the Beatles, the Byrds, Strawberry Alarm Clock, the Electric Prunes and bands that would be considered contemporary with Overcoat, such as the Fuzztones and the Miracle Workers. The band incorporated traditional garage rock elements of a Farfisa organ, 12-string Rickenbacker guitars, and Vox amps. Sartorially speaking, they took up the ‘60s affinity for paisley shirts, Prince Valiant haircuts, and Chelsea boots.

After a decade of spreading their paisley-drenched neo-psychedelia, the band took a hiatus between 1996 and 2000.They reformed and continued to record through 2011. Their sustaining influence on more contemporary garage rock is due to their being so prolific. They have nine full albums as well as singles and EPs. They have also received exposure via garage rock compilations in Europe; also they earned a following through a European tour in their heyday. In addition to their recording on Skyclad, Music Maniac in Germany, and Psyche Out in France, Timothy Gassen released a 30 song, two-album set in 2013 on colored vinyl: Marshmallow Overcoat-The Very Best Of. Gassen also has DJ'ed as Randy Love and is the author of the popular Knights of Fuzz book and DVD series.


Poetry:

Song For Dylan
Florid in the doorway
Blowing Bobby's horn
Told him I'm the one
Who took his crown
From the thorns
Hes buying me champagne
At the Metropole
Met him at the Mardi Gras
The fortune teller of my soul
The child is the father of the man
You gotta stumble before you can stand
The seventh mother said to the seventh son
Among the lucky you're the chosen one
He's Billy The Kid
He's Jean Harlow
Got a fake beard
Blue eyes like Rimbaud
On Highway 61
He tracked my heart
Playing dust bowl ballads
On a borrowed guitar# 


Cornflower Blue
Mercury is sleepless
He gave his Red Wings
To a folk singer
At the HMV
Little sister is heading downtown
What will she pawn
She says she's the one
But only you cut through
Cornflower Blue
There is no one else
Who does what you do
There is no one else
Who always cuts through
Daddy's in the alley singin'  the blues
Mama's readin' Jitterbug Perfume
Junior's talkin' Bible at the Exchange
Met him in Saigon
He says he's the one
But only you cut through
Cornflower Blue#

Wednesday, September 5, 2018

THE SIC F*CKS: The Ultimate Punk Band [1977-78]

Text and live photos © Robert Barry Francos / FFanzeen, 1977
Photos can be made larger by clicking on them
Videos from the Internet
 

This interview was originally published in Issue 3 of FFanzeen, dated Winter/Spring 1978-79.

Be warned, the Sic F*cks in their day were crude and lewd, but what would you expect from a band named the Sic F*cks anyway. My guess is they picked their name in a similar fashion to Led Zeppelin. But that’s conjecture.

I don’t know what happened to the John Cale tapes, but in 1982, the Sic F*cks released an Adny Shernoff-produced and self-titled 5-song 12”-er on Sozyamuda Records. The musicians listed on the record playing with Russell, Tish, and Snooky are Bob Hopeless on guitar, Dick String on lead guitar, Stink on bass, and Harry Viderci on drums. For all I know, these are the same people who were playing with them when I interviewed them. 

One side is dedicated to one song, “(Take Me To) The Bridge,” a droll spoof of the Talking Heads’ “Take Me to the River.” However, the other side is so much more fun. There’s – in order of listing – “Spanish Bar Mitzvah,” “Rock or Die,” “Insects Rule My World,’ and that Sic F*cks classic, “Chop Up Your Mother.” Two of the songs, “Rock or Die” and “Chop Up Your Mother” were performed (well, lip synced, anyway) by the band in the 1982 horror film, Alone in the Dark, which starred Donald Pleasant and future Oscar winners Martin Landau and Jack Palance.

While the physical form is gone now, thanks to greedy landlords, Tish and Snooky have have successfully turned Manic Panic into a multi-million dollar hair coloring enterprise that started out as mail order, and is presently in drug stores and supermarkets (including the local Shoppers Drug Mart here in Saskatoon). Behind the scenes helping them is first wave punk scenester and bassist for the likes of Judas Priestess, Gyda Gash, who is Manic Panic’s webmistress.

The Manic Panic website is www.manicpanic.com, and tell ‘em I sent ya.

It was the first really hot night of 1978, the night I interviewed members of that fun group known musically and affectionately as The Sic F*cks (“All that’s missing is ‘U’”). Present were lead singer/guitarist Russell Wolinsky, and the back-up singers, Snooky and Tish, also known as the Bellomo sisters. Not present were the rest: guitarist Norman Schoenfeld, guitarist Joey Schaedler, bassist Jim Aresca, and drummer Greg Wassil. The following took place in Tish and Snooky’s clothing store, Manic Panic (St. Mark’s Place & Second Avenue):

Russell Wolinsky: Alright Trigger, how much is two and two?
Tish Bellomo: I ain’t tellin’ you. Why should I do your math homework for you?

FFanzeen: Okay, you wanna tell, like, the background to how you got into Barbara Markay & Hot Box, and all that?
Snooky Bellomo: No! We were bamboozled into that. We were tricked. It was disgusting. They promised us two hundred dollars a week to sing and dance and they never paid us.

FFanzeen: You were in another group at the time?
Tish: Our first real group – well it wasn't a real group – our first group was the Porno Rock Revue. Some of our songs were originals, sort of in the line of the Sic F*cks: “Jerk Off Blues” and “Sit On My Face,” and stuff like that; and then we had Rugby songs. We were in Blondie.

FFanzeen: Blondie?
Snooky: We were the Bonzai Babies.
Russell: You were in Blondie? You know Debbie?!
Tish: We can get you an autograph. Then we were in Gorilla Rose and the Gutterettes. [Then] the Dropouts, who are now the Accidents. They were our back-up group. We fronted them. After that –
Russell: – The rest is history.
Tish: Well, during the time we were in the Dropouts, we did that Barbara Markay thing. It was just a fiasco. And then we were still in the Dropouts and then we started doing guest spots, you know, we did the thing with The Sic F*cks, and because of that we got thrown out of the Dropouts – now Accidents. Cruel band. Naw, we’re still friends.
Russell: How’s that for a success story?

FFanzeen: How did The Sic F*cks start?
Russell: There I was, in a five thousand watt [radio station in Fresno, California] – I had never played on stage before and I had been threatening to do an audition at CBGB for years. Well, maybe one year.
Tish: I would say more like two months.
Russell: Actually, the day before – no, so one day I was drunk at CBGB and I decided I could do better than the band playing. I kept on drinking and I thought I could do better than any of the bands playing. I knew Joey and Norman for a long time. They introduced me to Jim, our bass player, and at first we used the sound man at The Bottom Line [the club where Russell works – ed.], Ronald. So it was going to be the five of us for the audition. We had written the songs, like “Saint Louis Sucks” and “Chop Up Your Mother.” We told them (Tish & Snooky) about it. I know them from throwing up all over them.
Tish: No, Russell was throwing up all over himself in the front seat of the car, and I was in the back seat.
Russell: So, anyway, they were just opening up the store here and we told them about the band, and they said, “When do we start?” and it was like, one of those great ideas, like Edison inventing the light bulb or something. This is just what we need to make things whole for us.
Snooky: And the rest is history.
Russell: We had one more rehearsal, they worked out their own parts and we went up on stage. August 1, 1977, I’ll never forget it.
Snooky: Was that when it was? We have to celebrate.
Russell: I wanna do a first year anniversary show at CBGB.
Snooky: Yeah, great! A Tuesday night!
Russell: I’m trying to work it so everyone gets a free beer on the house.

FFanzeen: That’ll be right after this comes out.
Russell: Well, if they don’t get the free beer, don’t be disappointed. Anyway, we did it. I didn’t tell that many people about it, but this incredible amount of people, what was it, 300 people were there.
Tish: It broke the CBGB record at any rate.
Russell: It was an audition night record.
Tish: And Lisa (Kristal) said, “Dad will be sooo pleased,” as she looked down at the green. Did Handsome Dick show up?
Russell: Handsome Dick sang “Wild Thing” with us. You were wearing Girl Scout uniforms. The only time you surprised me was when you played in blackface. We told the crowd that it wasn’t Tish & Snooky, but The Chocolatettes from Detroit.

FFanzeen: The first time I saw you, you were wearing cut-out plastic garbage bags.
Russell: That was the night Snooky had the fight.
Snooky: Oh my fight? Yeah, because I was wearing a garbage bag. Robert Gordon doesn’t like garbage bags.
Russell: He likes paper ones.
Snooky: He was very upset. Robert’s my boyfriend and he didn’t like me wearing garbage bags on stage.
Russell: Only around the house.

FFanzeen: How did Manic Panic get started?
Russell: They said, “Hey let’s start a store.” 
Tish: We just decided to have the first punk rock clothing store in New York. My personal thing is I would wear things to CBGB and they were copied about two weeks later. So I figured why not sell it.
Snooky: It’s not like we said, “punk rock’s gonna be the next big thing, let’s cash in on it.” It just happened to be what we were into.
Russell: So they said, “this is going be the next big thing let’s cash in on it.”
Tish: I used to go to a designing school for a few months and I quit. I’ve always been into fashion and I always wanted to have a store.

FFanzeen: How did you pick a name like Sic F*cks?
 Russell: It’s just a parody of a punk rock name. You’ve got to remember we never expected to do it more than once, a one shot deal. Unfortunately, it was taken the wrong way. People come in and expect to see the ultimate punk show: throwing up; fornication.

FFanzeen: Instead they get Jewish jokes.
Russell: Borscht Belt rock and roll.      
Tish: Why did the Negroes move out of the outhouse?
Russell: Why?
Tish: The Puerto Ricans were making too much noise.

FFanzeen: What are your influences?
Russell: Alcohol.
Snooky: Durwood Kirby.
Russell: The usual. Henny Youngman, the Ramones, the Dictators, Jonathan Richman.
Tish: The Shangri-La’s. Vaginitus. The sixties in general. Doug Clark and the Hot Nuts. The Rugby sounds.

FFanzeen: What do you listen to now?
Russell: “I Got a Right” by Iggy. “Rhapsody in the Rain” by Lou Christie, I listen to that a lot.
Tish: Herman’s Hermits. I still listen to those 45s. There’s some good new stuff here and there.
Russell: Yeah, ABBA. I like ABBA.
Tish: You would. Typical.

FFanzeen: How does a typical Sic F*ck song get written?
Russell: We get a case of beer. We always start with the title, then me, Joey, and Norman write the music, then I write the words over the music, then they (Tish & Snooky) fill their parts in. Well, there we were, trying to think up a name for “Chop Up Your Mother.”
Tish: We were blasting that outside the store last night. All these people were outside listening to the tape.

FFanzeen: Can you give me couple of your song titles?
Tish: We can give you all of them.
Russell: Even songs we don’t do anymore, if you want. Their song, “A Girl Like Me,” “Chop Up Your Mother,” “Teenage Abortion,” “Let’s Eat,” “Faster and Louder,” both of which were written before “Let’s Eat” by Nick Lowe and “Faster and Louder” by The Dictators.
Tish: “Ride the New Wave.” “Insects Rule My World.”
Russell: “Spanish Bar-Mitzvah.”
Tish: “Toni Tennille.” “Fags on Acid.” A classic.

FFanzeen: I came by here a while ago and someone said you were recording with John Cale.
Russell: We did that already.
Tish: Old news.
Snooky: Ancient history. Old Wave news.

FFanzeen:  Is it coming out as a single?
Tish: An EP.               
Snooky: It has nine songs. The title is “Rock It to Poland.”
Russell: It was supposed to come out June sixth. Don’t hold your breath. I like John, but I would have done the recording differently.
Tish: Yeah, he didn’t pay for our coffee.
Russell: Yeah.

FFanzeen: Do you think your name will hold you back?
Russell: It’s holding us back now. That’s probably what’s holding us back from a major recording contract. The world ain’t ready for a band with the name Sic F*cks.
Tish: Hilly suggested we change it to the Sic Folks.

FFanzeen: You’d have to spell it Sic F*lks.
Russell: We suggested Hilly should change his name of Sic Folks. Him or Jonathan.
Tish: Jonathan’s dead.
Russell: We should have a benefit for Jonathan. Remember the dog Jonathan who was always at CBGB? He died. I think CBGB should have a benefit concert every week.
Tish: I don’t think Jonathan had as many friends as Johnny Blitz.
Russell: It was close.

FFanzeen: Anyone who ever played pinball and stepped into…
Russell: Dog poo?
                                                                                           
FFanzeen: Yeah, they’ll remember. That was his favorite spot, wasn’t it?
Russell: He used to do it on the stage occasionally. Especially the old stage with the carpet on it.

FFanzeen: What are the ultimate goals of the group?
Tish: Money. Fame. Get laid. I just always wanted to be a rock star. Even more than having a store, which was one of my main goals. Now I have everything. Except for the money and the fame.
Russell: We haven’t made People magazine yet.

FFanzeen: What kind of fan is a Sic F*ck fan?
Russell: Somebody with nothing to do on Friday night. We’ve established a solid following.
Tish: We get a lot of tourists coming to the name.
Russell: “Hey these crazy New Yorkers. What will they think of next?”
Tish: A lot of guys come to gawk. Men in raincoats with newspapers on their laps.
Russell: Just a lot of people who are tired of all these New York bands taking themselves so seriously. We’re punk and rock and roll.
Tish: We’re also power pop-oriented. Also New Wave.
Russell: Even reggae.
Snooky: Calypso. We even play weddings and bar-mitzvahs.
Russell: I mean, everyone has a definition of punk. There’s a big difference between the Ramones and the Dead Boys, a totally different attitude, but basically both play the same thing; they play rock and roll.

FFanzeen: What do you do to keep busy? I realize some of these questions are dumb, but I wrote them about half an hour ago on the train over, or I took them from old fanzines.
 Russell: Yeah, I remember this one from the Teenage Jesus interview in FFanzeen.
Tish: We knit. Crochet.                                                               
Russell: We beat off a lot.

FFanzeen: That’s the same thing Lydia Lunch said (in the Teenage Jesus interview).
Russell: Then we don’t beat off a lot. Isn’t it great to be young and live in America!
Tish: I like hanging out once in a while. I love getting drunk. I like being on stage more than anything. But we rarely rehearse.
Russell: There’s nothing like being on stage.
Tish: What do you get when you cross a Jew and a Polack?
Snooky: Russell Wolinsky!






Monday, August 20, 2018

Review: Records Collecting Dust II


Text © Robert Barry Francos / FFanzeen, 2018
Images from the Internet

Records Collecting Dust II
Written, produced and directed by Jason Blackmore
Ralph Wayne’s Vintage Backyard Films / Riot House Pictures / MVD Visual
78 minutes, 2018

The subtitle for this DVD is “…a documentary film about the music and records that changed our lives.”

In the original film from 2015, which I have yet to see, the focus was on 1980s West Coast Punk. For this sequel, we are switched to the East Coast punk scene of that period. In the pre-digital world – including CDs – the early 1980s was the last great hurrah for records in the pre-Marshall McLuhan-esque “replaced technology comes back as art” (paraphrased) world of new vinyl. Bands started labels or just put out their own stuff. I still remember heading down to Disc-O-Rama on Eighth Street in Greenwich Village to see the new indie recordings coming out and pick the ones I wanted. Thanks to FFanzeen, I was also sent many by the labels directly to review that I would never have seen, from both East and West Coasts, as well as in-between.

I firmly believe that record collecting is both an art and an addiction that can catch from one to another (e.g., I learned from a high school friend, and passed it on to a FFanzeen reader back in the day who has never really forgiven me). However, I will add that unless one has the collector “gene” it’s a moot point. Here is some of my record collecting philosophy called “Reflections on Being a Record Collector.” 

The focus of the film – well, the first half anyway – isn’t really about collecting, but more about what the subtitle posits, the song that sparked interest in music. Lots of Beatles, and even odder stuff like Kay Kaiser’s “Three Little Fishies” (I knew that song from a Zero Mostel LP, which I still have).  Along with the Fab Four, the most common mentions are Led Zeppelin and KISS (spelled both KISS and Kiss in the captions).

Most of those interviewed, which we hear in bursts of two or three sentences at a time, are mostly musicians, primarily in Boston and the Washington DC area, in groups like Mission of Burma, Agnostic Front, Helmet, the Cro-Mags, the Freeze, the FUs, and so many others. It’s definitely a hardcore roll call.

One of the subtle accuracies of this documentary is that historically that I have noticed is that while there are women who are collectors, the overwhelming majority are male. The Yin side of the equation is presented here by Amy Pickering and Cynthia Connolly, both of Dischord Records. Even many women I know who have encyclopedic knowledge of the music, most of them are free of the collecting virus, which I totally respect.
                                                            
There are sort of different chapters, including “your first record,” “who was a key influencer” (usually an older sibling or cousin), “the record that changed your life,” “the last record you purchased,” and “if your house was on fire, what three records would you save?” Personally, I think that last one is a ridiculous question only because there are too many I like and by the time I chose, I’d be a french fry. What I find interesting is most of the answers are along the lines of “here is this rare record so I could sell it to either buy more records or fix my house.” My guess the point of the question is what are the important records to you as a metaphor, not as a reality. I have rare records, but in this context I would answer differently; that being said, Ian MacKaye gives my fave answer.

Overall, this is an incredibly fun film, with strong nostalgia strings to pull at your heart. “Oh, yeah, that’s a great record,” or “Wow, I hate that one,” will shine through, though there is bound to be some “Oh, Jeez, I didn’t even know that existed, and now I want it!” All bound to bounce around your noggin as you’re watching. There’s not a dull moment.

The bonus material on the DVD includes the original trailer and 20:57 of additional interview footage. While it’s totally understandable why this never made the final cut, the first third is a load of fun as those interviewed show off their prize possessions. For the next third, it’s kind of a mesh-mash of different ideas, which is also interesting. The last third, though, is one long rambling interview that really doesn’t say that much by someone I strongly admire, FYI, and if it was someone else it probably would never have seen the light of HD day.

I did have one issue with this: every single person interviewed is either connected to the music industry behind the scenes, or are musicians (one who even admits he doesn’t collect vinyl, but only digital…does that even count?), but what about collectors who collect for collecting’s sake, i.e., love of the music alone? There are so many fanatical record collectors who I find absolutely fascinating that never played a note in their lives. I know some “hopelessly obscure” collectors, and they are much more interesting because they didn’t create the music, but their devotion is just as – err – hardcore. Perhaps that can be film Number 3?

Finally, I realize this has nuthin’ to do with nuthin’, but the subtitles are a bit psychotic. For example, it states “The Monkeys” (though it’s spelled correctly later on), “Cool and the Gang,” “Henry Rawlins” (Rollins), and then another early one has a collector referring to “Corvette’s”; for those of us old enough to know, it’s EJ Korvettes, a department store where many of us did our initial mainstream record shopping. Here’s my totally unrelated Korvettes vinyl story: When I was in high school, I was with someone who bought the Woodstock soundtrack; when we got it home we found it skipped, so we brought it back to the store. Of course, they had to test it to prove it was actually defective. The sales clerk put on the record just as the phone rang, so she ran out, not realizing that the turntable was connected to the store’s PA. All of a sudden, through the entire store, you heard Country Joe yell echoing, “Gimme an F…, Gimme a U...,”  Good record collecting times.



Friday, August 10, 2018

Guest CD Reviews by Nancy Neon


Text by Nancy Neon / FFanzeen, 2018
Images from the Internet

Michael J. Roy
The Bright Side
https://michaeljroy.hearnow.com/
Roy opens with a track called "The End." So, for Roy, the end actually becomes a beginning with a new recording for 2018. The song has a T-Rex feel. Lyrically, Roy seems to be singing about a relationship, be it romantic or creative, that teetered on the precipice of greatness only to implode. "Same Old Thing" has a cool, downbeat feeling. Musically and vocally, it will turn those on who dig Jakob Dylan or Tom Petty. It is a powerful song of regret that highlights what I have always called Roy's painterly style of guitar playing. "Impossible Ways” is vocally strong with a ‘60s pop feel. "Mr. Berserk" is someone we all know; he tries to come off as if he has it all under control, but blows up like a grenade with any or no provocation. These are some of Roy's best lyrics, where he sings of "Mr. Berserk" being followed around by a shadow that cannot be escaped. "Moving to L.A." is something I can relate to after a bad fall on the ice in Boston last winter. The track has a lovely vocal, melody, and arrangement. The music and lyrics touch the listener with an amalgam of wistfulness and wanderlust: "I can't believe/I've stayed here so long/It makes no sense/Once the summer's gone/It seems I don't know/Why I'm here at all/And I can hear that balmy West Coast call." "Point Of No Return" has a Bob Dylan/Tom Petty style vocal and overall vibe. "All The Time That Never Was" has a feeling of sadness and regret over real or perceived unrealized potential. Roy describes it as "pining for things that you know are never going to happen." This concept has resonance for me as I have been troubled by my own sense of unrealized potential. “Thin Air" has the message of striking back and ultimately surviving creatively against the threat of obsolescence. "A Reason to Live" speaks of the renewal of hope and life in the face of the increasing pressure of time and mortality. This track is fast paced, energetic, and the catchiest of the bunch along with the closer, "The Bright Side." As with "A Reason to Live," on "World Run Wild," Roy's musical mojo is at full force as he sings" My mind is on fire." So is his guitar! "The Bright Side" is a shimmering, jingle jangle power pop track in a Byrds/Dwight Twilley Band vein. When I spoke to Roy about the recording, I mentioned that I always thought he was the George Harrison of the Boston-based bands Fox Pass and Tom Dickie and the Desires. Roy showed he understood what I meant by responding by saying "dark horse." (In addition to the dictionary definition, Dark Horse was Harrison's record label.) The Bright Side is a powerful follow up to Roy's 2015 release Eclectricity.


Tom Guerra
American Garden
www.tomguerra.com/
The song "Nevermore" opens this recording with power chord/riff stylings in a classic rock vein. Guerra's voice is a combination of approachability, vulnerability, and moxy. "Goodbye to Yesterday" was written by Guerra and bassist Kenny Aaronson of The Yardbirds. This song has elements of blues, garage rock in a Sonics vein, and ‘60s pop-oriented harmonies. "Walls" is a Tom Petty number that Guerra recorded soon after Petty's death. The vocal is downbeat and the arrangement is faithful to Petty's style. "Jack for Joe" is Guerra's homage to his former roommate/manager, Joe Polito, who died about 30 years ago. Guerra described Polito as having "lived life at full-throttle racing speed." Guerra expresses a lingering fondness for his halcyon days while asking “where can we go now that we can't go home again?" "Blood on the Rising Sun" was written after the Charlottesville riots and features Jon Butcher on lead guitar. Guerra uses a Dylan/Petty style vocal to create a 21st century protest song that ends with the chant "hate cannot replace us." "Family of One" and "Lyin' King" are two more Guerra/Aaronson collaborations. These were intended for inclusion on a Jack Douglas-produced Yardbirds album – a concept that was sadly shelved. The bridge "Now that tomorrow is here at last" is a line Guerra intended as response to the Yardbirds' "Shapes of Things." "The Lyin' King" has blues harp and a garage rock-oriented feel. "The Story" is a song Guerra was moved by after hearing Brandi Carlile's version. Here Guerra's voice sounds like he is broken but still fighting to summon up faith and strength to strive for love. "Meet Me at the Bottom of the Glass" is a piano/vocal arrangement with Morgan Fisher of Mott the Hoople on keyboards. Like "Jack for Joe," it is about Guerra's friend who was lost to alcoholism. The closer, "American Garden," is thematically a pastiche of three Vietnam veterans with whom Guerra had conversations about their war experiences. The title track has an Apocalypse Now vibe with its psychedelic feel, distorted vocals, and helicopter sounds. The pop rock section of the song juxtaposed against the more ominous elements of “American Garden” highlight the dichotomy of the relative innocence of pre-Vietnam War versus the lost idealism of the post-War period. The image of the "American Garden" is all the more startling when you realize Arlington cemetery is one interpretation of the album title. This is Guerra's third solo recording. Also check out his band, The Mambo Sons.