DVD Reviews: Divinyls / Rose Tattoo Live, Boggo Road Prison 1993

Text © Robert Barry Francos / FFanzeen Blog, 2012
Images from the Internet

I have put these two reviews together because they were recorded at the same show.

Divinyls: Jailhouse Rock, Recorded Live at the Boggo Road Prison, Queensland 1993
Directed by Chris Fitz-Gibbon
Umbrella Music
85 minutes, 1993 / 2012
Umbrellaent.com.au
MVDvisual.com

I can still remember the first time I heard / saw the Divinyls play on some television concert series, back in 1984. It was jaw-dropping.

Lead singer Christina Amphlett came onstage wearing the adult Catholic School Girl outfit equivalent to AC/DC guitarist Angus Young, but her character seemed to be a bit, well, tetched, as they may say in the southern US. The songs were hard, sharp, and earnest, as Christina roamed the stage, doing some odd dances and head shakes, writing on her own face with lipstick, and pouring a pitcher of water over her head. But more than the theatrics, there was an edge to the songs and her voice, a yearning and sharpness, whether it was the desperation of “Boys in Town” or the slow burn and build-up of one of my favorites of this period, the extended “Elsie.”

Then they soon had their hits Stateside, like “Pleasure and Pain” and especially “I Tough Myself,” turning Christina more into a Sheena Easton (“Sugar Walls” period). Another equivalent would be Slade’s anachronistic “My Oh My” from that same era.

Later, in 1993, an infamous prison closed back in Brisbane, Queensland, so what else to do but to put on a huge rock concert at the grounds?

When the Divinyls start their set, with their tremendous “Boys in Town,” I had a shock. Great, powerful song about moving on, and, well, while the band is in full tilt mode, Amphlett basically goes through the motions. What a difference in tone from when I saw that televised concert ten years earlier to this performance. “Crap,” I said, “I hope the whole show isn’t like this,” a limp version of greatest hits. Thankfully, I was wrong.

Even by their second song, “I’ll Make You Happy,” off my fave of their albums, Desperation, the tempo and emotion had come up substantially. The material they cover on the DVD encompasses their five albums to date, including “Open Windows,” “Sex Will Keep Us Together,” “Ain’t Gonna Eat Out My Heart Anymore,” and of course, “I Touch Myself” and “Strut”… I mean “Pleasure and Pain.“

Of course, the two songs that I would have loved to have heard, “Siren (Never Let You Go)” and the aforementioned “Elsie” were MIA. Still, I’m not complaining, because despite its limp start, the Divinyls prove to be made of hardier stuff, and they bring on their A- game. Sure, some of that early edge and brittleness is long worn down, but even at this level, the Divinyls were better than just about anything coming out of Down Under, such as the overrated Midnight Oil and Men at Work.

Yes, this DVD is worth getting, putting on, and enjoying it for the period piece that it certainly is, not to mention a more-than-decent repertoire. And then follow it up with Desperate and perhaps a cuppa.

Band:
Christina Amphlett: vocals
Lee Borkman: keyboards / guitar
Charlie Drayton: drums
Mark McEntee: guitar
Jerome Smith: bass

Set List:
Boys in Town
I’ll Make You Happy
Only Lovely
Guillotine Day
Need a Lover
Open Windows
Love School
Lay Your Body Down
Science Fiction
Temperamental
Sex Will Keep Us Together
Make Out Alright
Bless My Soul
I Touch Myself
Ain’t Gonna Eat Out My Heart Anymore
Pleasure and Pain

Rose Tattoo: Live in 1993 From Boggo Road Jail
Directed by Chris Fitz-Gibbon
Umbrella Music
54 minutes, 1993 / 2012
Umbrellaent.com.au
MVDvisual.com

Rose Tattoo was known as the “Bad Boys of Australian rock” (hey, it says so right on the back of the DVD box). In a land that released the likes of AC/DC and the Saints, that’s saying something, I guess.

Vocalist Angry Anderson (aka Gary) is diminutive and imposing, his muscles and tattoos on display. And while his vocal range is certainly limited, he sure can produce some strength behind that scope. He does have an AC/DC/Bon Scott vibe going, and he flogs it for all its worth, with benefit. The song titles alone show you the direction they have taken, such as “Bad Boy for Love,” “Assault & Battery,” and “Rock’n’Roll Outlaw.” Surprisingly, “We Can’t Be Beaten” is not present, although they do quite a rousing version of the Stones’ “Street Fightin’ Man.”

It’s said that those with a troubled and violent youth either go into social work, the priesthood, or prison. Angry has managed to touch nearly all bases, in a sort. He is an advocate for juvies in the courts, acted in such films as Mad Max Beyond Thunderdome, and is a forceful member of the conservative National Front. He’s also a spokesperson for men’s health; not surprising since five members of his band has died from some form of cancer. As for prison, well, Anderson quips quite early on about how everyone expected him to end up in Boggo Road Gaol, and there he is. Ha!

Anderson’s voice definitely has a flint-striking-stone element that is appealing to a metal genre, and it is certainly no surprise that Rose Tattoo – er – rose to among the top of the heavy rock field. I do, however, think that perhaps the band is better suited for the studio in that Angry tends to have a small number of musical stage moves, where he walks to a spot, turns the microphone to the side of his head, moves his head to face the mic (giving the audience half a face), and his other hand straight out from his body. End of stanza, move to another place, repeat. I’m sure there are going to be RT fans who will disagree, but I’m just sayin’.

The guitarwork by Peter Wells (d. 2006) and Mick Cocks (d. 2009) is superb, as is the rest of the musicianship, as they grind down the metal to a primitive sound that is actually quite sophisticated in its form.

Honestly, during their heyday, Rose Tattoo never really registered on my meter much. I didn’t have MTV and was listening mostly to US-centric punk, but I am glad for this opportunity to do a bit of enjoyable post-catch-up.

Band:
Angry Anderson: vocals
Georgie Leech: bass
Peter Wells: slide guitar
Mick Cocks: rhythm guitar
Paul De Marco: drums

Set List:
Out of This Place
Bad Boy for Love
Assault & Battery
Tramp
The Butcher & Fast Eddie
Rock’n’roll is King
Street Fighting Man
Rock’n’roll Outlaw
One of the Boys
Nice Boys
Going Down





Bonus Video:

Book Review: Dirty Deeds: My Life Inside/Outside of AC/DC, by Mark Evans

Text © Robert Barry Francos / FFanzeen, 2011
Book cover image and videos from the Internet

Dirty Deeds: My Life Inside/Outside of AC/DC
By Mark Evans
Bazillion Points Books (Brooklyn), 2011
288 pages, trade paperback; USD $19.95
ISBN: 978-1-935950-04-2
Dirtydeedsbook.com
bazillionpoints.com

By the time I saw AC/DC play CBGB in ’77, Evans had already completed his two-year tenure with the band as their bass player earlier that year. He was famously given the boot just before the band left to tour the States.

In the past few months, I’ve read three (enjoyable) autobios about musicians, and there definitely seems to be a thread that almost sounds like a blueprint: born into the poorer areas of Cleveland (Cheetah Chrome), Helsinki (Andy McCoy of Hanoi Rocks), or in this case Melbourne, Australia, with a missing or violent father figure, and then discovering the guitar/bass through blues-based rock’n’roll which becomes obsessive. Following years of substance abuse, there is some redemption with later wives and kids.

Mark Evans recorded three albums with AC/DC; well, according to what he claims, it was actually Angus and Malcolm’s older brother, George Young (used to be guitarist in the Easybeats; they had a hit with “Friday On My Mind”) who played the bass on the records, while Evans was part of the live crew (though present during the studio tapings). That may be part of why he was not included when the band was inducted into the (Corporate) Rock and Roll Hall of Fame and Museum, as they are so focused on the financial-pull of a band as far as recordings go (i.e., record sales), rather than the performance end, historically speaking (have you ever seen the place?). Anyway, on page 86, Mark states:

In the early days I was a spectator, taking it all in, because much of this would be done with George on the bass. I had no issue with this: it was how the first album was recorded, and from my vantage point, it worked beautifully with Mal and Angus on guitar and George on bass. It wasn’t discussed; it was just the way it was. And what an armchair ride for me… I would be in there kibitzing while the guys were ‘brewing up a tune.’ … George [is] an absolute legend of a bass player. George pretty much showed me the bass-playing ropes. He had a great knack for picking the perfect line… The bass line in the song ‘High Voltage’ is pretty busy for an AC/DC track but still perfect. George on bass? Very cool. As far as I’m concerned he is one of the greats.

Let’s face it, AC/DC is essentially Angus and Malcolm Young, and in the period this book covers, Bon Scott. The drummer (Phil Rudd, who was also eventually canned) and bass player are secondary in this band’s hierarchy. Can you name them, even though the replacement bass player has been with them for 30 years now? See? That being said, Mark claims on page 102:

Quickly, AC/DC came to dominate my whole being; it became my life. We were together because we were a band but AC/DC was an entity on its own that commanded all my time and attention. I had no option but to follow it with blind faith. It became my career, livelihood, social life and hopefully my future. The cliché would be ‘it was my family,’ but it was never that; it was something else again. If you were in AC/DC you lived it; it wasn’t an act. I wasn’t just part of the band; I became part of a lifestyle. It was the reason we were all together; the only way it made sense was that we were only AC/DC when we were together in the same room.

As with the other books mentioned above, this one falls into three acts: growing up, being in the band for which they are known (in this case, of course, AC/DC), and then after the ball, as Ian Whitcomb’s granddad may have put it.

Even if the route to the band is a similar one, I still find the path the books describe interesting, even with those I’m not enthralled in (e.g., Slash, Mötley Crüe; yes, I read those, too), but it’s best when the story is well written, as is this one. Sure, there’s the occasional Aussie slang thrown in, but nothing the reader has to really ponder (i.e., it’s no A Clockwork Orange),, just be amused by.

Of course, the meat of the matter is his deuce years with the band that pretty much put Australia on the rock map (the bands before either never made it out of the British Empire, or had hits without many aware at the time that they were from Down Under, such as the Easybeats). Others like Midnight Oil or Divinyls would follow; although the Saints were thisclose). Wisely, a large part of Evan’s book focuses on this era much more (about three-quarters of the text) than the others.

Throughout the book, Evans keeps hinting at the firing from the band yet to come, in either an I-shoulda-seen-it-coming or walking-on-eggshells-during commentary. But from what he states throughout, it’s pretty obvious why he got the can: he was a drunken sod who was obnoxious as get out (relative to the Youngs). Sure, Bon was also a major substance abuser as well, but (a) he was the front band, and arguably a great one at that, and (b) he did not interfere with the goings on of the group, taunting Angus or starting fights, or (and Evans admits this more than once in this book), leaving right after the gig to get plastered or laid, especially if the show tanked. The quote above explains that AC/DC were not just a band 24/7, and the Youngs’ closeness of their family belies this. Even on the front cover, there’s Evans trying to antagonize Angus (check out Bon’s expression of the shits gonna hit the fan now), who, according to this book, doesn’t really have much of a playful side. Evans writes how Angus would sit in his room for hours just noodling on the guitar, rather than socialize.

While being an obviously raging alcoholic (though he never admits to it in the book) makes him a bad band mate, especially for the live shows which is the main purpose of his being there,“ it does however tell a fun story. That, in part, is what makes this book enjoyable. It’s a fast and easy read (except for a tragic point later on), and for anyone interested in life on the highway (to hell?) of a heavy rock band, this does not disappoint.

My only quibble with the book, really, is that if one is not up on Australian rock history, some of the names may not spark. For example, Evans was in a few bands that had some major hits in Australia, but were nowheresville in the States, such as Contraband (one of many bands with that name, apparently), for example. But this should not, however, deter the readers because, as I stated, this is 70-to-80 percent AC/DC content.

Actually, there is one more nitpick, but it’s no fault of Evans. After he left the band, there was a protracted legal battle between him and the group, but due to signing a non-disclosure agreement for the settlement, he is legally obligated not to say anything about that, which makes it all the more interesting to me, of course.

Evans seems to flip-flop a bit about members of the band…well, about Malcolm and Angus, anyway (nothing but praise for Bon). They come across as combative to him one minute, cold the next, and occasionally friendly. For example, the way Evans describes Angus jumping off the tour bus and playing in the snow like a kid one minute and then being silent and sullen again after is chilling (see how I did that there).

Whether a fan of the band or not, Mark Evans has a lot to say that is interested in anyone who loves stories of being in bands and the excitement of being on the road. So, my recommendation is be a punter, mate, and join the gang, yeah. This book may not change your life, but it will be a fun ride for the duration of the read.

Vanity Plates No. 4: Webshots

Text and photos © Robert Barry Francos, 2011

I had tried a few of the other Web photo hosting sites, and found problems with most of them. Sometimes the problems were minor, such as where the pictures were put up in the opposite order, you could not change the order once the pictures were on the site, or you could only load one at a time, but I found this to be frustrating because I wanted my photos to be in order so they could tell a story. Yes, sometimes I manipulate the order to tweak it, but most of the time, they’re chronologically correct within the event(s). There is one I had been using and was happy with it, but it was absorbed into another software, and became cumbersome and miserable (perhaps we can call it the MySpace Syndrome).

But I found a home with Webshots. I liked the ease with which the photos could be edited, and the large number it could hold. Heck, I even went for the $30 per year premium because I wanted to see the stats of all the viewings. With a click of a button, I can see how many photos have been viewed, which have been downloaded by the viewer, and where it stands in a particular category. Sure, since Webshots was bought out by American Greeting there have been issues, but I still find it better than what else I have found out there. They do charge to download (of which I receive nada), but the images are free to view.

My general site is here: community.webshots.com/user/ffranzos2006v1 , which has a total of 292,975 views as of date of this publishing.

So, here are the top half-dozen viewed folders from my Webshots collection, in ascending order:

No. 6: Peggy O'Neill's Xmas Show 12/10/05
10,396 views [Ranked 1,021 in the Music category]
One of the many great showcases put up by Brooklyn band, the Nerve! That December day in Coney Island, the Peggy O’Neil’s bar had a leaky pipe, so rather than use the stage, the bands played on the floor level to a very enthusiastic crowd (who appear in many photos, as well). The bands that performed, in order, are Inanimate Girl (young teens), Object (wonderful spousal duo who play guitar/vox and drums), Rubber Molding, Honest to a Fault, Hello Nurse (very physically active group who sounded good, but would send so many notices on MySpace – remember MySpace? – that I had to de-friend them, which was a shame), Good Grief (cousin guitar and drum twosome who had such a large sound that they appeared to be a full group if you closed your eyes; they were joined by a bassist that night, and did an all Nirvana set), the Marianne Pillsburys (way underrated all female pop punk band), SQNS (aka Status Quo No Show, who are big GG Allin fans; they cover “Bite It You Scum), and headliners The Nerve!, an excellent band. Most of these groups are gone now, having morphed into different forms, but it was an exciting evening.
entertainment.webshots.com/album/544794675WCPomm?start=0

No. 5: Wigstock 2005
11,264 views [Ranked 349 in the News category]
New York’s Wigstock was not just a drag show, it was the drag event of the year, and yet it is no longer staged. Held at Tompkins Square Park in the East Village, it was a ribald chance for the community (and fans) to get together and strut. Started by Lady Bunny, in part, she was still MC-ing it in 2005. Meanwhile, the Poisoned Aeros, a band based in Toronto, were in town, and we met up at the park and hung out all Wigstock day and had a blast. After, we went to Trash & Vaudeville and Dojo’s (which has since also bitten the dust). The photos reflect the show, the backstage, and the audience (which amazingly included little kids, despite the nudity and sexually suggestive language). Included in this folder’s photos are Lady Bunny, Perfidia, the Fabulous Floyd, Amnesia Sparkle, and of course Buckshot Bebee and Ro the Knife of the Aeros.
news.webshots.com/album/546380516hwqItt?start=0

No. 4: 1970s Musicians I Have Photographed
12,655 views [Ranked 153 in Music category]
This is a loose collection of photos taken in clubs like CBGBs and Max’s Kansas City during the period of 1976-1979. There is a lot of see, such as the Ramones, Blondie, Dead Boys, Cramps, Heartbreakers, and other luminaries of the New York scene. There are both minor and major acts mixed together, including some of my AC/DC at CBGB shots. Before the days of everyone having a cell phone camera, it was rare to find people with 35mm capturing bands. Having started FFanzeen and the need for photos to accompany the articles, I talked my parents into buying me a camera, and the rest is, well, right here. Some day I’ll scan all these negatives, and hopefully produce a book of them.
entertainment.webshots.com/album/574418104RnIvMa

No. 3: Dock Street Xmas Show 12/17/05
23,567 views [Ranked 312 in the Music category]
You may notice that quite a few of these are dated from 2005, but that’s surely because it takes time to get that many views. The Dock Street Xmas shows were run by Jay Miller, who fronted one of my favorite post-punk bands, Monty Love. Situated in Staten Island, Dock Street bar was consistently packed with fans (who were photogenic). Luckily, I had a “spot” to stand where the slammers couldn’t reach, and I could just enjoy the music as I snapped photos in relative safety. One good thing about getting there early was I got to see (and snap away) the whole setting up of the show. On this evening, in order of appearance, Victims of a Drive By (fronted by the ex-singer of the ska-laden Washington Riot), Shatter Me Silent (their last show), the screamo local legends Quantice Never Crashed (who had to change their name twice for legal reasons), local legends Folly, the amazing punk emo singer-songwriter Kevin Devine, and then Monty Love hit the stage for their high energy set.
entertainment.webshots.com/album/541560332eYeZJz?start=0

No. 2: IPO Opening Night, Baggot Inn, NYC, 11/8/2007
37,995 views [Ranked 112 in the Celebrities category]
Since it’s inception by David Bash, the International Pop Overthrow shows have been not only gaining audiences in New York, but have toured around the US and Canada; now they even play other continents across the globe. Each year there are various shows with rotating artists that play to welcoming audiences. I feel lucky to have seen it at an early stage, and to see the artists performing, some of whom I’ve known for years. In order, they were the Voyces, Bibi Barber (her recordings are quite enjoyable), Jesse Bryson (and band), Jake Stigers and the Velvet Roots, the Dukes Jetty (from England), Twenty Cent Crush (which included guest bassist Nancy Street, who played in Cheap Perfume – and whose picture from back then appears in the 1970s Musicians folder), the Attorneys, and the Next Big Rave (consisting of theDave Rave, musician/rock historian Gary Pig Gold, and ex-Cheepskates leader Shane Faubert), who were joined for a few songs by Michael Mazzarella of the Rooks and Chris Mehos of the Big Up). It was an incredible evening.
entertainment.webshots.com/album/561419322HXSBcd?start=0

No. 1: Monty Love Xmas Spectacular, 12/22/2006, Dock Street, Staten Island
38,820 views [Ranked 139 in the Music category]
The most viewed album is due in part, I’m sure, to some of the musicians that came to the show. Plus, many of the musicians who played are from Staten Island or close by, so there is definite hometown pride (S.I.N.Y., as they say). This was the last Monty Love show before they broke up (despite a couple of reunions gigs), and I was happy to be in the audience, as I’m a Monty Love fan, as well as liking many of the other groups playing that night. There is a very cool video of a few of the songs from the show on YouTube (search Monty Love Xmas Spectacular, and ignore the introductory minutes until the music truly starts). On tap that night were, again, in order, Racing Exit 13 (for those who don’t know, exit 13 on the New Jersey Turnpike leads to the Goethals Bridge, a major entrance way to Staten Island), rappers Bullfrog Reunion (meh), Dead Set on Destruction, Folly (yes, the same band as in No. 3, above; as I stated earlier, they have a very strong fan base), once again the legendary Kevin Devine (solo, without the Goddamn Band; he also used to front Miracle of 86) who shared a stage with cult fave Jesse Lacey (of Taking Back Sunday, the Rookie Lot, and Brand New), and lastly, the over-the-top energetic Monty Love. As the YouTube video shows, it was a great show, and Monty Love will be missed by many in the tri-state area.
entertainment.webshots.com/album/556922658RQmDEF

Vanity Plate Volume 2

All other writers retain their own copyright.
Links to articles follow each piece

Here are some recent sightings of your FFanzeen publisher on the Web (marked in bold in the piece). Note that I have not edited the text of the pieces, so all materials are as they were in the originals.

First up is a blog by Walter Ocner, who has been a good friend for decades. A record collector for years, he only just started blogging recently. Hopefully, he’ll continue with some longer (i.e., more than a couple of paragraphs) pieces like this one. Hi, Sandra!

1. Why I Love Records Stores – Rockit Scientist and Rebel Rebel in NYC, by Walter Ocner
I always loved collecting. When I was a kid I really got into coins and used to read magazines about them and tried hard to collect V nickels and Morgan silver dollars. There was a precious metals store a few blocks away I used to go to after school and pick up indian head pennies and whatever else I could afford. I would buy magazines like Coins and Coin Collecting and salivate at the thought of one day owning a $20 gold piece. Unfortunately my meager savings couldn’t keep me in the hobby I was so passionate about and eventually I began to lose interest. You just can’t sustain a hobby on wishing alone.

As i got older, music became my passion. I guess you could say everything else fell by the wayside, like school. This was during the days of vinyl when You could go into any music store and flip through the bins of new and import LP’s. I used to go to a few neighborhood stores in Queens such as Numbers Records or The Record Room. I would pick up singles for 99 cents by The Beatles, Icicle Works, Rod Stewart or The Smiths. They usually came with cool picture sleeves which made you want to take a chance on hearing the music inside.

Manhattan was a goldmine for new and used records. For me, it wasn’t just about enjoying the music but the treasure hunt aspect of collecting. I used to dream of finding rare British pressings of Beatle albums or bootlegs with unreleased material. My collection grew, much to the ire of my parents who proclaimed it a waste of money. Every cent I had went to records. I can’t blame them for being so angry, they were struggling to support a family and here I was, blowing all my cash on vinyl.

I have a huge record collection now. My friend Robert Francos (Editor of FFanzeen) once told me when we were in his room, which looked like a record store, that one day I would have a collection like his. I thought he was nuts and now, I probably have more than he does. I still love the hunt, the search for the elusive gem. Two of my favorite places to shop are in Manhattan, Rockit Scientist Records at 33 St. Marks Place and Rebel Rebel on 319 Bleecker Street. Both John and Dave run amazing shops that are brimming with reasonably priced goodies.

The thing I love about going there is what I don’t get from buying online from Amazon or whatever. That is the personal touch and the sense of discovery. You walk in and something will catch your eye or ear. John at Rockit Scientist and Dave at Rebel will play you things based on your musical taste. They will engage you in discussion and help you discover groups and albums you never would have found on your own. I might find music cheaper online, but I would rather pay a bit more and keep the independent record store alive and give me a place to discover and learn about music. These are the best stores around and cannot be replaced by an impersonal online retailer. You will find things here you will never find at a WalMart, so in essence, you are also keeping independent labels and bands alive and thriving as well.

I urge all of you to visit these guys and the “mom and pop” stores in your neighborhoods. You will make new friends and discover a world of exciting culture that will enrich your life!
http://walterocner.wordpress.com/2009/06/03/why-i-love-records-stores-rockit-scientist-and-rebel-rebel-in-nyc/


* * *

Next is AC/DC Machine, a Swedish metal webzine. The interview was run by Niclas Müller. Here he Q&A’s the publisher of a new book about the band which contains photos I took of AC/DC at CBGBs in 1977.

2. Intervju med Dennis Pernu
Detta är en komplettering till intervjun som Niclas Müller Hansen gjorde med Phil Sutcliffe. Här pratar de om arbetet bakom AC/DC boken, High Voltage Rock'n'Roll: The Ultimate Illustrated History.

Where did you get the idea for this kind of AC/DC book?
We had published Whole Lotta Led Zeppelin (2008) and Queen: The Ultimate Illustrated History (2009), both of which were well-received. Ever since, we’ve been constantly casting about for other bands and artists with long, engaging histories and rabid worldwide followings. AC/DC seemed to fit the bill, and so far that hunch has proven correct.

How long did it take to put together?
Just about a year, from the time I asked Phil if he was interested in writing the main narrative to the day we had finished books sitting in our warehouse! Ideally we’d have more time to put books like this together, but because our music publishing program was still relatively young at the time, we were still getting up to speed on getting books into the marketplace.

Did you know of Bill Voccia before this project or any of the other ones involved in the book?
I did not know Bill before beginning this project but was fortunate to find him and have him agree to get involved. You’ll notice a lot of the more interesting items depicted in the book come from his vast collection. A few of the other writers and photographers featured in the book had contributed to previous projects, notably Detroit-based photographer Rob Alford, Garth Cartwright (who penned the piece exploring AC/DC’s brief dalliance with the world of punk rock), Dave Hunter (who wrote the sidebar on Malcolm and Angus’s gear and who also wrote a stellar book for us last year called Star Guitars), Andrew Earles (who contributed to the Zep and Queen books but also wrote a full-length narrative history about Hüsker Dü, which we also published last year). Let’s see . . . Gary Graff has also written pieces for us in the past (he gathered all those great musician quotes on the endpapers), as has Sylvie Simmons. Other than that, I tried to target writers who I felt were considered some of the world’s top scribes in the realms of hard rock, heavy metal, and AC/DC—guys like Ian Christe, Daniel Bukszpan, Martin Popoff, Joe Bonomo, Anthony Bozza—and photographers like Robert Ellis, Philip Morris, and Bob King who had iconic images of the band. Happily, I was able to agree to terms with all of them.

How did you go about picking out the items featured in the book?
Believe it or not, aside from Voccia’s items, the bulk of the memorabilia was the result of 4 or 5 months of scouring eBay on a daily basis.
Tell us about the "spinning Angus cover"!
Whenever we decide to publish a book we have a preliminary meeting to discuss possible cover concepts. I had already seen Rob Alford’s photo of Angus spinning on the stage at the 1979 World Series of Rock and half-jokingly suggested we incorporate an actual spinner to assimilate Angus’s famous stage antics. At the time I got the impression that most of the room thought I was nuts. But the person who managed the book’s design process and the person who arranges for the manufacturing of our books took up the idea and ran with it. When everyone else saw that they were pursuing it and that it was actually possible, it just took on a life of its own. I think it really captures the manic energy of the music in a way a static photo can’t. The spinner is also a bit goofy, just like Angus’s stage performances. “Goofy” in a good way, of course. It’s interesting, my 6-year-old son and I just saw School of Rock and Jack Black’s character shows his students footage of Angus spinning on stage. My son thought it was hilarious. It really speaks to the band that they can appeal to rock fans from ages 6 to 60.

Was there a lot of cool stuff that didn’t end up in the book?
Arnaud Durieux has a mind-bending gigography that I wanted to license for the book, but he respectfully declined, citing his own future book project. Other than that, one of the main problems with assembling these books is that usually a day or two after it goes to press you stumble upon a killer piece of memorabilia or photo that you missed or that wasn’t available when you were gathering materials.

How did you get Phil Sutcliffe involved?
Phil penned the main narrative of our aforementioned Queen book. He was such a pro’s pro on that project, and I was aware of his old Sounds review of a 1976 AC/DC show at the Marquee in London, so I asked him if he wanted to write this one. I think the fact that all these people whom I badly wanted to be involved with the book agreed to it speaks to how much people really love this band.

Tell us about your first AC/DC show? How many times have you seen them live?
Unfortunately, I’ve never seen the band live! The thing I realized about AC/DC while putting this book together is that they were always pigeonholed in the States as a metal band, which of course they’re not . . . they’re just a loud, fast rock ’n’ roll band. But that categorization turned me off when I was younger, even though I’d heard a lot of their stuff. So as someone who came of age listening to bands like the Replacements in the ’80s and then going to tons of club shows in the ’90s (Soul Asylum, Mudhoney, Rev. Horton Heat, Run Westy Run, the Cows, Dinosaur Jr., Sonic Youth, the Jayhawks, Wilco, etc.), I was too doctrinaire to go back and explore AC/DC, because, well, the ’80s and even the early ’90s weren’t altogether kind to them and they were considered dinosaurs. I regret not getting to know them earlier. Despite the “indie rock” ethos that I bought into, AC/DC were clearly a band that paid their dues and that even influenced, to varying degrees, the bands I was listening to.

Favorite AC/DC item in the book and why?
That’s a tough one. The spread of silkscreened Black Ice tour posters is cool, but I would have to say that a handful of photos are my favorites, particularly Robert Francos's CBGB photos and Jenny Lens’s Whisky A Go Go shots (check out Jenny’s image showing Angus’s sweat-drenched SG). I mean, who doesn’t wish they saw AC/DC in a small rock club? Also, there are a couple of two-page spreads showing crowds at the Apollo Theater in Glasgow and at Monsters of Rock, which I love. And, the Rob Alford shot on page 88. You always read about the prodigious amounts of snot that would fly from Angus’s nose at shows. Here, you can actually see the boogers in his nose!

Favorite AC/DC record and why?
Ooh, another difficult one! I’d have to say the High Voltage (the Atlantic debut)—the LP that introduced the band to the rest of the world. It’s just tight, blues-based rock full of Bon’s trademark wit. Plus Rolling Stone called it an “all-time low” for hard rock, so the boys had to be doing something right. I wish they’d included their version of “Baby, Please Don’t Go.” Seems just about everyone’s covered the song, but I don’t think anyone’s surpassed AC/DC’s take. Budgie and Lightning Hopkins came close. . .

Any other projects going on?
Speaking of “Baby, Please Don’t Go,” we have a similar treatment of Aerosmith due in September (written by Guitar World executive editor Rich Bienstock), and Iron Maiden coming next spring (by UK-based metal journo Neil Daniels).
www.acdcmachine.com/files/interview_dennispernu.php


* * *

Wow, this was on the Huffington Report Blog page. It also appeared in a number of other sites, a couple of which I’ve listed at the bottom of the article. It, again, pertains to Phil Sutcliffe’s “High Voltage Rock'n'roll”

3. Mike Ragogna HuffPost Reviews ACDC

Email
Written by bestsellerelectronic on Dec-19-10 9:00pm
From: bestsellerelectronic.com
So, you consider you know all things AC/DC? Really. Well, take a hit of the essays, chronological photos, memorabilia, and ubiquitous profusion contained in in between the over 225 pages of High Voltage Stone 'N' Roll: The Ultimate Illustrated History and you'll be intimidated indeed. Stone edition residence Phil Sutcliffe (with a small assistance in sidebar form from folks similar to Robert Ellis, Joe Bonomo, Philip Morris, and a expel of 17 others) reserve the biographical and chronological grit which takes us from Angus & Malcom Young's prophesy by the Brian Johnson and Chris Slade register adjustments and, of course, way beyond. Commentaries and reflections by Jimmy Page, Billy Gibbons, Joe Perry, Steve Vai, Ace Frehley, Meat Loaf, Jack Johnson (yes, Jack Johnson), and Joe Elliott spin out the over-the-top jubilee which is Illustrated History. A small of the early shots of the rope by Philip Morris and Bob King are value the cost of the book alone. But add bar cinema by Jenny Lens and Robert Francos and the behind-the-scenes images contributed by Robert Ellis and Robert Alford, and you have a visible story which is as current as any of the authors' contributions or researchers' timelines and discography. Who knew there was so many to know about this steel antecedent from Australia, one which many dont consider about contributed to the tough stone theatre in the U.S. some-more than many American bands did. Now you know, and the rest, as they say, is Illustrated History.
http://www.zimbio.com/Chip+Taylor/articles/38VMKfSRbA4/Mike+Ragogna+HuffPost+Reviews+ACDC+Jane+Roman
Also appeared on:
legal-sleaze.com
allword-news.co.uk/tag/pete-finney
thoughtandword.com/rss/author/Mike


* * *

Thus Spoke the Spectacle is a multi-media performance focused on the
way mass media is used against it’s audiences, or at the very least, for their own purposes. Much of it is focused on the material of Marshall McLuhan, Neil Postman and Jacques Ellul. I had the pleasure to see it a few times, and took photos that they used on their Website.

4. Thanks to the MEA organizers who invited us to perform, including Sara van den Berg, Paul Soukup, Janet Sternberg, and Lance Strate. Special thanks to Abigail Lambke and Dan Frierdich for securing a great performance space and managing all the tech issues; Robert Francos for his many excellent photographs; and all of our MEA friends and supporters for making this performance of Thus Spoke The Spectacle truly one to remember.
http://www.thespectacle.net/blog/2009/06/

* * *

The Echoes are a fun band whose CDs I had the pleasure to review for my Jersey Beat column, “The Quiet Corner.” The Echoes’ response was nice to read.

5. The Echoes Official Website

The 2007 Release Of "NOW HEAR THIS" Having Stimulated A New Interest In 2005's "LISTEN UP... IT'S THE ECHOES," Famed Music Critic ROBERT BARRY FRANCOS Wrote The Following REVIEW For The Spring 2008 Edition Of JERSEY BEAT:

"Kentucky-bred and New York based, THE ECHOES are a twosome who have released "LISTEN UP... IT'S THE ECHOES," which is available at theechoesofficalwebsite.com. They sing in a folk style reminiscent of Ian & Sylvia, and give us all original tunes written by Mark Alexander, though most of the lead singing is (wisely) handled by Teresa Starr. The songs are full of love and tenderness, with Starr's high voice and Alexander's supporting guitar and voice (he does sing a lead here and there). This is definitely an easy listen on many levels, including a joyful melody line and a to-the-point lyrics structure ("I met you just the other day/You made it in my dreams that night" are the CD's opening lines, from "IF I DO"). This is the folk equivalent of lite jazz, and I don't mean that as an insult; it's a style that is very listener friendly. Like cocoa and a blanket on a chilly evening." -- Robert Barry Francos, JERSEY BEAT, Quiet Corner

THE ECHOES Would Like To Thank ROBERT BARRY FRANCOS & JERSEY BEAT For Their Support !!!
http://theechoesofficialwebsite.com/echonews.html

Vanity Plate Volume 1

All other writers retain their own copyright.
Links to articles follow each piece

Here is a recent sightings of your FFanzeen publisher on the Web. Note that I have not edited the text of the pieces, so all materials are as they were in the originals.

Metal Shrine is a Swedish metal webzine published by überfan Niclas Müller, who also writes for the online AC/DC Machine. Here he Q&A’s me about my photos (and some text) regarding AC/DC playing CBGBs in 1977, that appear in a book by Phil Sutcliffe called AC/DC High Voltage Rock´n´Roll: The Ultimate Illustrated History. Niclas interviewed me through email. The original full piece also has interviews with Sutcliffe, and editor Dennis Pernu (who mentions me; it will be in Vanity Plate 2). To see the complete piece, please follow the link at the bottom of the article. The introduction is in Swedish, but the interview is in English.

Bokrecension och Q&A´s!
Phil Sutcliffe
"AC/DC High voltage rock n´roll: The ultimate illustrated history" (2010)

AC/DC tillhör de där riktigt stora banden som kan sälja ut gigantiska arenor världen över, utan att egentligen behöva göra någonting. De skulle inte behöva ge ut fler skivor, utan bara snickra ihop en turné och ändå dra mer publik och håva in mer pengar än de flesta band.

Senaste albumet ”Black ice” blev en försäljningsframgång utan dess like och den tillhörande turnén kom att bli en av deras största och längsta. Själv hade jag åter nöjet att se de gamla herrarna på Stadion i Stockholm och var fullkomligt lyrisk efter konserten. Sällan har väl ett gäng i den höga åldern utstrålat så mycket energi och glädje, som AC/DC gjorde den vackar sommarkvällen.

Muiskjournalisten Phil Sutcliffe har med hjälp av Voyageur press snickrat ihop en rejäl bok drygt 220 sidor, sprängfylld med allehanda godis från bandets långa karriär. Historien berättas kronologiskt och tar upp de viktigaste händelserna, men bygger i mångt och mycket mest på andra böckers och tidningars informationsflöde. Nej, det roliga med denna bok är allt det andra. Fantastiska foton från tidigt 70-tal, bl a från ett improviserat gig på legendariska och numera nedlagda CBGB´s i New York. Eller varför inte bilderna från Whisky A Go Go i LA 1977. Det är svettigt, hårt och rockande.

Till alla bilder förljer kommentarer och berättelser, ofta från fotograferna själva. Men det bjuds även på mängder av backstagepass, gamla biljetter, svåra skivor och roliga gamla konsertannonser från bl a brittisk press. Med andra ord ett riktigt himmelrike för AC/DC-fantasten!

Phil Sutcliffe står för den genomgående historieberättelsen, men mellan hans utdelade portioner bjuds det äeven på iakttagelser från andra mer eller mindre kända människor. Journalsiter som Martin Popoff, Sylvie Simmons och Anthony Bozza får även de berätta sina tankar och minnen kring bandet och gör det bra och i de flesta fall underhållande. I slutet av boken finns även en genomarbetad diskografi och varje album har en egen sektion i boken där allehanda folk får ge sin syn på respektive album. Klart läsvärt!

En kille vid namn Bill Voccia har en enorm samling med AC/DC-prylar och hans saker finns representerade genom hela boken. Dessutom ägnade sig folket bakom boken till månaders inköp från Ebay, för att få ihop ett så intressant och givande material till boken som möjligt.

Kanske är det inte några större eller nya sensationer som det bjuds på i boken, men det var nog inte heller tanken. Hur som haver är det en riktigt snygg bok där tyngden lagts på bildmaterial och samlingsmani. Dessutom är flertalet bilder sådana som aldrig tidigare sett dagens ljus. Bara det är värt summan du får lägga ut på detta verk. Köp. Läs, titta och njut samtidigt som du spelar ”Powerage” i bakgrunden och återigen slås över hur makalöst bra bandet är. Få har lyckats komponera ihop så tunga och slagkraftiga riff som bröderna Young!

Jag tänkte att det kunde vara kul att höra lite om bakgrunden till boken och hur man jobbat med att sätta ihop den. Sagt och gjort, jag mailade Phil Sutcliffe, Dennis Pernu (redaktör) och Robert Francos (fotograf) och fick omgående läsvärda svar tillbaka.

Robert Francos (Bidrog med bilder och berättelse):

Tell us about that show at CBGB´s!

Robert: (Edited from my blog at http://ffanzeen.blogspot.com/2008/11/acdc-at-cbgbs-1977.html:) On August 24, 1977, I went to CBGB's to see one of my favorite powerpop bands, The Marbles. As their set was ending, suddenly there was a commotion at the back of the club. Then I noticed part of the crowd moving toward the stage, surrounding a cluster of people. That’s when they announced AC/DC as the next band to play over the speaker, though they were not scheduled. It seems AC/DC had been playing in town at the Academy of Music (which would be renamed as The Palladium) to support their High Voltage album, and wanted to check out the club. The band proceeded to play a full impromptu set, which actually lasted longer many other local bands’ turn at the mic. And this was after their playing a full concert uptown shortly before. The late singer Bonn Scott ran around the relatively small stage, ripping his shirt off along the way. Meanwhile, guitarist Angus Young also frenetically moved like a madman, brandishing his guitar like a weapon of noise, and playing their fun version of pop metal. At one point, Angus switched guitars that either had a remote or a really long cord (I can’t remember which). He then made his way through the crowd, while playing wild solo licks, and went outside. So, there was little Angus, while still playing thrashing chords, talking to the transient gents from the Palace Hotel milling outside CBGB.

What did you think of it? Were you impressed?

Robert: I'd never heard the band before, honestly, except for clips on television concert programs. They were fun, to be sure, and active on stage, that was obvious. I was more impressed with Angus's playing than Bon's vocals at the time. I couldn't make out what he was singing thanks to accoustics, volume, and Bon's growl, but that is pretty common at any club. If I would have known it was Bon's last tour, I may have been more observant of particulars and details, but I just enjoyed it for what it was. Though I'd been going to punk shows for a couple of years, metal was a bit out of my ken, so I had no base on which to compare it, so I just accepted it. It was also strange considering that AC/DC was a polar opposite of the powerpop Marlbles I had come to see (though the Marbles' guitarist, Howard Bowler, is a phenom in his own right). One of the things that impressed me was how well AC/DC all "moved" together. It was sort of like a jazz band that had been playing together long enough to know each other well enough to play off of them. And considering they just finished a who-knows-how-long show uptown, they went in full throttle. Yes, it was impressive.

How many photos did you snap all together of that show?

Robert: 11 in color, 18 in B&W. The band was moving around so fast, and I did not have a flash at that time, that all the pictures were blurry due to the movement. At first I was disappointed by the blur, but after some time I found that the effect was almost like echo from the guitar, giving a true feel to the motion of the moment. A few of the photos have appeared in two books so far: "33-1/3: AC/DC's 'Highway to Hell'" by Joe Bonomo (2010) and "AC/DC: High-Voltage Rock'n'Roll The Ultimate Illustrated History" by Phil Sutcliffe (2010). While both quote me, Sutcliffe's lists me as one of the many "Contributed By".

What was the crowd´s reaction to the band?

Robert: During their performance the audience was a 50/50 mix of people who had been there before and a crowd that had followed them from uptown. Just about everyone seemed to be enjoying themselves. Some of the 50% who were there before were in shock that AC/DC was playing at the club and were so fortunate, yet there was a very small group who were just not impressed at all. Obviously the 50% that came with them were whooping it up quite a bit. CBGBs had tables throughout then (which would be removed during the hardcore days to come to make room for a mosh pit), so the entourage that came with them stayed toward the back of the dining area, near the bar.

Did they play an encore?

Robert: I don't remember. Now, mind you, I taped the show on an audio-cassette. I lent it to someone a years ago who wanted to hear the Marbles. Then, a couple of years later, I sold a pic I took that night of AC/DC to a collector from Europe, and as a thank you he sent a bootleg CD to me of the show. It was from my own tape! I know because it starts with someone making a comment about Angus's legs, and it was me... It's only about 20 minutes long because the tape ran out. However, just a couple of years ago, getting ready to move, I found the second part of the tape, only to misplace it again during the move (I have hundreds of tapes, being interviews, live shows, and demos of bands, many unlabeled). At some point, when I find it again, I'll make it available to collectors, but until then, oh, well, guess people will just have to drool in antici-----pation.

Did they stay and hang out after the show?

Robert: No, they stayed long enough for a drink, and then left with their entourage. By the time the Marbles came back for their second set, they were long gone.

Did you ever see them live again?

Robert: Never had the pleasure. I've seen some YouTube videos, but I don't think Brian Johnson has the stage presence Bon did.

What other cool shows did you attend in NY City? Did you take more photos?

Robert: Without exaggeration, I have attended thousands of great shows here in NYC over the years. For example, I saw Alice Cooper four times during the '70s ("Welcome to My Nightmare," "Billion Dollar Babies," etc.), saw Slade a few times (love them; first time in '74, I believe, the opening band was Aerosmith; the second time it was Brownsville Station, who I enjoyed more than Aerosmith), I've seen the Ramones dozens of times (first time, June 20, 1975, with Talking Heads opening...found out later it was the Heads very first show; there were 12 people in CBCBs that night), saw Tom Petty play CBGBs and the Bottom Line, Television, Patti Smith, Dictators, New York Dolls, Lene Lovich, and soooooo many others. I started taking pix of them in 1977, when I got my first real camera (first roll was of the Ramones), for two reasons: first, because I was seeing so many bands that I couldn't remember them all, and having pix helped, and especially for the second reason, as I was starting my fanzine FFanzeen (ran from 1977-88), and I needed photos for the interviews and articles. I have thousands of photos of bands from back then.

What are you up to these days?

Robert: Now I have my own blog at ffanzeen.blogspot.com, where I write about music, culture and my life. I also have a CD/DVD review column at jerseybeat.com/quietcorner.html. I moved out of New York in 2009, and am currently living in Saskatoon, in the middle of the Canadian plains. I am once again getting into local music. For example, just last night I saw a great reggae group (led by a Belizian native and now Canadian) the Oral Fuentes Band.
Oh, and if anyone wants me to go to review your release, write me at rbf55@msn.com, and if you're playing in Saskatoon and want me to write about your show, just put me on the guest list....

/Niclas

metalshrineblogg.blogspot.com/2011/03/bokrecension-och-q-phil-sutcliffe-acdc.html

Book Review: “33-1/3: Highway to Hell,” by Joe Bonomo

Text © Robert Barry Francos
Images from the Internet

The 33-1/3: Highway to Hell
By Joe Bonomo
The Continuum International Publishing Group, Inc. (NY / London), 2010
131 pages
Continuumbooks.com

First, some essentials:

This is the third book I’ve had the pleasure to be reviewing by Northern Illinois University prof and music historian, Joe Bonomo. I’d like to digress and give a quick shout out to his previous two (non-fiction) books, SWEAT: The Story of the Fleshtones, America’s Garage Band, and Jerry Lee Lewis: Lost and Found. Both are excellent reads, and worth seeking out.

This particular book is number 73 in a series of digest sized books that Continuum Books has issued that focuses on a particular groundbreaking album that had a dramatic effect on culture. A brilliant concept, as each book is decidedly different, with the author given freedom to write about the release from their own perspective, anywhere from a straight bio to an academic polemic, to a personal reflection.

Lastly, as a “truth in publishing” statement, one of my photos appears within its pages (p. 67), and myself and this very blog is quoted extensively at least twice. As there is no such thing as objectivity, and I have no plans in leaning that way, I decided to review the book.

Bonomo has a definite style in his writing that flows in an auteur manner (so far). He is a knowledgeable participant in the history of the groups he documents, and he mixes this considerable information with his own history related to the topic, such as where he was when he first heard the 1979 AC/DC LP that would be a major US breakthrough for the Aussie band, and the last for it’s doomed lead singer, Bon Scott. Bonomo describes how the licentious nature of the music touched his teenage (i.e., horny) psyche, as well as that of the generation.

The Bon Scott period is more remembered fondly as a past moment than it was in the time of its incarnation. With new singer Brian Johnson (who still fronts the band to this day), AC/DC hit their popular stride, and can fill auditoriums across the planet, but it’s the Bon Scott era to which everyone harkens back, and Bonomo places the reader in the time of that slow, upward popularity swing of the band.

What helps make this book special is that Bonomo does not put the band on a pedestal. He looks at the music frankly, and even states which songs on the album are the weakest (and, of course, why they are such). As for Bon himself, Bonomo writes:

I won’t romanticize Bon Scott. I can’t forgive that he was a self-destructive alcoholic who drank himself to death, but I can forgive that unhappy truth, and I listen to the songs that dramatize that hazardous dancer with more than a little sympathy, and with rue at the human mistakes he made, however fun they were.

The book is formally broken into chapters that literally and figuratively mark the three chords that AC/DC relied on so heavily. We are introduced to the rise of the band, the tour before Highway to Hell’s release, the making of the album, the tour after, the effect of the death of Bon on the band and its audience, the rise of their popularity based on this album and subsequent reworking with a new singer (yet keeping their style and mojo going), and the aftermath of a world that has had AC/DC as a paradigm for rocking hard for all these years.

As Bonomo discusses the final product of Highway to Hell, he analyzes each song as he posits what the particular piece denotes and projects, and what it has meant to him over the years, using himself as the representative of his generation. As he describes each cut, I played that particular song, one by one (thank you YouTube), as if he was a tour guide taking me through the highway of AC/DC.

A topic that crops up occasionally in this analysis is one I don’t hear very often, and that is AC/DC’s occasional descriptor as “punk.” This is funny to me, as my Brooklyn crowd always associated them with the likes of the heavy anthem rock of Slade, more than, say, other Aussie punk bands of the time, such as the Saints. Yes, AC/DC were essentially three chords and their songs reveled in the sordid, but even their insisting on keeping their particular brand of rock going (as did the Ramones) gives the application of “punk” as questionable. Heck, Tom Petty’s first album was labeled as “punk” in 1976.

AC/DC is a band whose whole emphasis is fun: drinking, women, and rocking out. Bonomo keeps the flow going from history to analysis to the band as personal touchstone throughout the book, from beginning to end. Whether one is familiar with the band or not (personally, I only own their first LP, High Voltage, which I bought after seeing them play at CBGB in 1977 for $1 in a bargain bin), the story of them is still intriguing as present by Bonomo, who seemingly effortlessly flows through AC/DC’s history, their importance, and their legacy. This was an especially fun read.

AC/DC at CBGB's, 1977

AC/DC live at CBGB's FFoto (c) Robert Barry Francos

On August 24, 1977, I went to CBGB's to see one of my favorite powerpop bands, The Marbles (and they did not disappoint).

As their set was ending, suddenly there was a commotion at the back of the club and I figured, oh, I bet some drunk was getting tossed. Then I noticed part of the crowd moving toward the stage, surrounding a cluster of people. That’s when they announced the next band to play over the speaker, and it was not one who was scheduled. One of the group of people had long-hair, muscles and a grainy face; the one behind him was diminutive, wearing short pants that looked like part of a school uniform, and was carrying a guitar case. Of course, I recognized them from seeing them on some Friday night in-concert television program.

It seems AC/DC had been playing in town at the Academy of Music (which would be renamed as The Palladium) to support their High Voltage album, and wanted to check out the club. The band proceeded to play an impromptu set, which actually lasted longer many other local bands’ turn at the mic. And this was after their playing a full concert uptown shortly before.


The late singer Bonn Scott ran around the relatively small stage, ripping his shirt off along the way. Meanwhile, guitarist Angus Young also frenetically moved like a madman, brandishing his guitar like a weapon of noise, and playing their fun version of pop metal. I’d never been enough of a fan that I would have paid to see the band, but I definitely had fun viewing them that close.

At one point, Angus switched guitars that either had a remote or a really long cord (I can’t remember which). He then made his way through the crowd, while playing wild solo licks, and went outside. So, there was little Angus, while still playing, talking to the transient gents from the Palace Hotel milling outside CBGB.

Luckily, I caught the gig on film. The band was moving around so fast, and I did not have a flash at that time, that all the pictures were blurry due to the movement. At first I was disappointed by the blur, but after some time I found that the effect was almost like echo from the guitar, giving a true feel to the motion of the moment.

Soon after,I even bought the album for a buck at a cut-out bin. I was satisfied on many levels.