Adventures in Cuntopia: The
Life of a Punk Rock Prom Queen
By Colleen Caffeine
Ellora’s Cave / EC For Real, 176
pages, 2016 Available HERE:
In the wake of the likes of Detroit
icons like Iggy and the Stooges, Alice Cooper and the MC5, and in the shadow of
the Grande Ballroom, came a punk prom queen named Colleen Caffeine. She soon
would become a cult figure in the punk scene thanks to her band Choking Susan.
Her dedication to the music goes even beyond her many tattoos and outrageous
looks. While still in Choking Susan, Caffeine, who is a huge fan of the Ramones
(she has a tat from the Rocket to Russia
LP cover on her arm), joined an all-woman Ramones cover group brilliantly named
the Whoremones. Problem was she didn’t play any instruments. Well,
determination is a great teacher, and as she was filling in the Dee Dee role,
she taught herself to play the bass to beyond a level of just competency.
When her bands play Europe, they sell
out large clubs and her fan base is worldwide. Where she is least known, it
seems, is in the good ol’ US of A, beyond the boundaries of Michigan. Here is a
brief version of how I got to know Colleen, and to call her a friend:
In the mid-2000s, I learned that Choking
Susan was going to play at CBGB, ground zero (along with the Grande) for the
music they play. For some reason, and it’s nothing I’ve ever done before
really, I contacted them and offered to show them around New York, including
some “punk-centric” highlights of the Village. Perhaps it was because they
weren’t kids, having been around a while, and from their MySpace page I could
tell they were coming from a lot of the same music I enjoyed.
Reluctantly (I could tell from the
tone of the response, the reasons for which she also indirectly discusses in
the book), they agreed to meet the day before the show. Among the places I took
them was Trash and Vaudeville, the old Fillmore East site, Gem Spa, where Manic
Panic used to be (Caffeine is known for variant and vibrant hair colors), and
the Joe Strummer mural. We also ate at DoJos, the one that used to be on St.
Mark’s Place; it’s a vaping supply store now...
For the last place, I took them to
Manitoba’s. I knew the band was fans of the Dictators, so I hoped to help them to
meet the man, Handsome Dick, Sure
enough, there was HMD behind the bar, but the band, being the bad-assed punk
rockers that they are, were idol-shy. So I went over to him, and pointed out
the band. Being the mensch that he
is, HD grabbed a flashlight from under the bar and spent quite a bit of time
with them, chatting and explaining a lot of the pictures that covered the walls.
Choking Susan was agog, and it made me happy.
We said our farewells for the
evening, and then I got to see them play a really fun show at CBs the next
night with a local Brooklyn band I knew, Status Quo No Show (SQNS). I took tons
of pix, including the lead singers of both bands in the infamous crappers (both
sexes).
Wow, about 600 words in already so,
since I’ve now given some background, I should probably start talking about the
book…
First and most importantly, don’t let
the title throw you. I’ve read quite a few musician autobiographies, and many
of them – while enjoyable and not taking anything away from them – also have
the formula of: I grew up in tough circumstances, I discovered music, practiced
a lot, joined a bunch of bands, and despite competition, drugs, sex and band
in-fighting, became a legend. Then it all became too much and the band broke up
due to infighting. But Colleen don’t play that.
It is true, the Caucasian Colleen begins
right off discussing her tough background by stating, “I was born a poor black
child,” but she does it with humor and not necessarily focusing on a
chronology-based telling of her life. More stream of consciousness, she jumps
around from subject to subject with a self-depreciating candor while discussing
her inner thoughts about life and what has happened to her. Rather than a
sorrowful slog, even when she is discussing hard topics, like an emotionally
hard breakup, it’s a pinball version with topics being the bumpers to bounce
off of to fly to the next thing. For example, she discusses her demure grandma
being a classy broad to going abroad and her love for the Dominican Republic.
It’s almost an ADHD model for the
first half of the book, and yet it works well for her. It kind of reminds me of
Ulysses S. Grant (bear with me here): the reason he was a great general is
because he failed West Point, so he didn’t follow the expected order of things
in the patterned way of war. This is kind of what this project is like, in that
rather than just an autobiography, it’s more like musical riffs. During a
guitar solo, one can just follow a I-IV-V Blues formula, or one can go off on
tangents and just play. After listening to I-IV-V over and over, a streaming
bowl of riff can be a nice change.
Along with the history of her life,
we get to hear about friends, life and death, break-ups, hook-ups, touring, and
general philosophical ways of looking at what is happening. There really is no
rhyme or reason for the order, just whatever she is thinking at the moment,
though some later chapters do follow through with the thought. That, and you
know she will either brag about herself, or look at herself as incompetent. Honey,
you’re you, and most of your fans are grateful. Period.
Most chapters have a theme title,
which is usually a sexual pun on a song title or expression, such as “A-Dick-Shun,”
“Thimble Tits,” or “Life is a Semi in the Middle of My Colon.” Plus, I kept
wanting to talk to her throughout the book. For example, when she says, “If only
I had a dime for the number of times I’ve been called strange, odd or weird. In
love, I have only ever been treated as a burp and only afforded the smallest
effort of a subconscious poof of air after one had been satiated with whatever
had whetted their appetite.” Oh, honey, I’ve been called all of those things,
too, and you know what, good, and so
what? Punk Rawk! That’s what makes a
rock and roll lifestyle. Also, you just haven’t met the right dude (or woman; I
won’t assume about the future) yet. No, I’m not implying it’s me or anyone
else, but the road is being traveled, that’s important.
She does address that somewhat with “I
hear people say you need to find happiness and fulfillment within yourself,
enjoy your own company. For some reason I’m not able to do that. I don’t know
why either.” Yes, and neither does anyone else. I’m not wagging a finger, I’m
sighing that answer.
Don’t get me wrong, the book isn’t a
downer…well, maybe in certain sections she has some deeper, philosophical life
queries, but Colleen also has an outstanding sense of humor, lyrical timing,
and a keen sense of observation. If I quoted every line I underlined, this
review would be many pages longer.
Colleen expresses her emotion in song
lyrics, and there are many published here within the paragraphs that show how a
particular incident is processed, transformed, and regurgitated and transformed
into something meaningful, and often powerful.
This was an enjoyable read from
beginning to end, and the numerous photos in the back (none of mine, so I’ve
included one) just make it that much better.
The biggest drawback of the book is
that I’m afraid it’s not going to be reviewed as much as it should, or be in
many bookstores thanks to its title. But be sure to buy it in either its print
or electronic form from Amazon.com at the link at the top. Meanwhile, I’m
hoping there is a next book on the horizon.
An earlier version of Choking Susan at CBGB (photo by RBF)
Text by Diane DeVito / FFanzeen, 1983 Introduction by Robert Barry Francos / FFanzeen, 2015 Images from the Internet
Shrapnel were a fun – albeit jingoistic – band, being straight ahead
basic rock’n’roll, if you could picture a mash-up of the Ramones and the
Dictators. Stripped down and raw, this electric group called CBGB’s its home. It
was there I saw them a couple of times, and they didn’t disappoint.
After Shrapnel, lead singer Dave Wyndorf, the focus on the interview,
would go on to form and front the popular Monster Magnet, with bassist Phil
Caivano. Drummer Dan Clayton would join Mayday Parade. David Vogt passed away a
number of years ago. Daniel Rey would produce three Ramones albums, be the
guitarist on Joey’s last solo LP, and replace Top Ten as rhythm guitarist for
the various incarnations of the Dictators. Their manager, Michael Alago, would go on to be a music executive and photographer who would sign the
likes of Metallica and White Zombie.
This article was originally published in FFanzeen, issue #11, dated 1983. It was credited to Diane DeVito, but it was
actually by the Managing Editor of the magazine, Julia Masi. She did so much
writing for us, we both agreed to use the occasional pseudonym. – RBF, 2015
What’s faster than a speeding bullet?
More powerful than a locomotive? Able to leap tall buildings in a single bound?
Look! Up in the sky! It’s a bird…
it’s a plane… it’s… it’s a rock’n’roll band? Shrapnel, fighting a never-ending
battle for truth, justice and the American way.
David Wyndorf, alias mild-mannered
lead singer / songwriter for Shrapnel, says, “We’re American guys. We’re an
American band. So we use a star. I like the star ‘cause it’s on Captain
America’s shield,” confesses Dave, the truth finally apparent.
Ace reporter that I am, I wouldn’t
want to reveal Captain America’s secret identity, but one is tempted to look
about and see if there’s a telephone booth nearby into which Dave could run to
change into his other outfit, the red, white and blue one. The Captain America
one.
Shrapnel is Wyndorf, vocals; Daniel
Rey, guitar; David Vogt, rhythm guitar; Dan Clayton, drums; and Phil Caivano,
bass. They are a comic book band, like Blondie and the Ramones. Joey Ramone
even contributed some neat vocals on the band’s single, “Combat Love.”
Shrapnel’s beginnings were more than
a little controversial. They played CBGB and other Lower East Side hangouts,
and were building quite a following. But then – things began to sour. They were
caught in the crossfire of negative New York press. The accusations flew. The Village Voice labelled the band, “proto-fascists
and neo-Nazis,” in response to Shrapnel’s army garb and militarist lyrics.
Wyndorf now views the situation with
a grain of salt: “At first I laughed. I could see the writer sitting the other
way and staring at the wall. Hell, writers must have a hard time sitting there
thinking about stuff to write about. [It’s
a dirty job, but someone has got to do it – dd.]
“Because I had black boots on, they
said, ‘Yankee militarist.’ Which wasn’t bad, you know, but neo-Nazi’s? Come
on!”
Shrapnel has since shed their army
attire. “I felt like a hypocrite after a while…we go out and sing these songs
we wrote when we were drunk, [shouts]
‘Kill, kill, kill / John Wayne is God,’ and fling G.I. Joes around. The purpose
was to get people mad (which they did), which was real fun.” It was comical,
almost vaudevillian-like.
When the mood strikes, Shrapnel still
does “Chrome Magnum Man,” and used a “bomb” as a stage prop. Michael (Alago,
Shrapnel’s manager and all-around good guy) hates it. “It’s a song about a
little kid who gets to turn into a giant super-hero. And throw a bomb around.”
All in fun, you know. But something tells me Dave is that little kid, who is
transformed into a super-hero.
“I like super-heroes. I can’t help
it. I still like ‘em.” Dave’s in good company. Another rock hero, Ray Davies,
is a super-hero fan. He wanted to fly like “Superman” and heard “Captain
America Calling.” Dave does not think Shrapnel has
reached the caliber of rock-hero. Yet. “A rock-hero; I’d like to be a
rock-hero, man, rock-hero, like on the cover of Circus magazine.
Shrapnel does fit the comic book hero
persona. “I’d love it to be like that. I’d love to work it so we’re a bunch of
crazy atom-age kids lost in a world we never made.” Sounds like a scene from a
comic strip. Are you listening Marvel?
Click to enlarge
Marvel Comics did take notice.
Shrapnel appeared in the 1980 Spider-Man
Annual. Dave considers it “our crowning achievement.”
Presently, Shrapnel will be shopping
around their tape, which includes two new songs, “Hope for Us All” and “Crime.”
Record labels take note.
“’Hope for Us All’ is my song,”
smiles Dave. “It’s a tribute to the human spirit. It’s a real optimistic song.
‘Ha! We know where you’re going, pal,’” he kids. A more serious expression appears,
“But that’s the way I felt. I was watching some movie about some guy making it
as a Broadway star and it was so great! You know there’s hope for us all. If
this sluck [loosely translated as “jerk”]
can do it, I can.”
At that moment, I believed he could,
and so did Cap! Good night, Captain America, wherever you are. Dave, pass me
the funnies.
Text (c) Robert Barry Francos, 2011 Images are owned by the artists Also, images can be enlarged by clicking on them.
Throughout the years, I have collected flyers, especially from the 1970s and '80s. Many were sent to me directly by the bands while I was publishing FFanzeen (some here actually have letters on the back from the musicinas). Below are some scans I made from my personal collection, in no particular order. I did see may of them, but not all, and I will comment on them from time to time. Note that I do not financially profit off of publishing them, but only do so to honor the work that was involved, and for archival purposes.
1. The Love Delegation was made up from, in part, members of the Fleshtones. While I saw the 'Tones play a number of times, and in fact I was one of the first to ever interview them, I did not get the chance to see any of their offshoot bands. The Love Delegation album is quite good, as well.
2. I sold my tickets to the Clash at Bond's to see the Rockats play the Ritz, the night they recorded their live album; however, I did not see this show. Of the purist rockabilly revival groups on the New York scene during the 1980s, they were among the best; the Stray Cats, who for some reason managed to get more attention, were by far not as lively a band.
3. The Insect Surfers were a fun surf-style band in the '80s, hailing from Washington, DC. Their manager was Bill Ash, who got me in to see them play Hurrah's. As for the Underground, on the corner of Broadway and 17th Street in NYC (I believe it's a sports clothing store now), the only show I ever remember seeing there was metal-god Thor, and was not my favorite place.
4. The Fast were one of my favorite groups to see live, especially during their earlier powerpop days. I interviewed them in the back of van on a highway by-road in Brooklyn with my then managing editor. After they went in a more metal direction, Miki tried a few side projects, including an all-Gene Pitney show, and the Miki Zone Zoo. Unfortunately, I never did get the chance to see this amazing and underrated guitarist's sidework. RIP, Miki.
5. The Left Bank was a bit out of the way for someone from south Brooklyn like me, being way up in Westchester (people from there generally hate it when you refer to it as "upstate," as it's just north of the Bronx), but I managed to make it to a number of shows there, including Ronnie Spector and the Ventures. However, it was this Dictators show that I remember best. They were in top form, and that night they recorded their Fuck 'Em If They Can't Take a Joke live (originally) cassette only ROIR album.
6. Great, amazing show, and one of the first I ever photographed (with an Instamatic and flashcubes, developed into slides). It truly was an extravaganza, and all gave 150 percent.
7. I headed down to the Stiff party, on lonely and dingy Crosby Street in Manhattan. I had heard, and apparently correctly, the "U.K. artiste" was Lene Lovich (who is American). The room was dark-dark-dark (and I didn't have a flash, but still managed to get some photos), and Lene sang with us as a group standing around her, since there was no stage. In the audience was also Nina Hagen, who jumped in for a song with Lene, who apparently is a pal. Below is the invitation to the party, both outside and inside.
8. Never saw Justin Trouble, I believe, but I do have the "Johnny Thunders produced" record. It rocks, remaining a fixture of its time.
9. I've seen Elda play a couple of times, and she was a blast. Lots of power, lots of energy.
10. The last ad for Max's Kansas City. I was at Heartbreakers one (my companion, Nancy, interviewed Walter in the "Andy Warhol Room" that night for FFanzeen), as well as the Rattlers / Ronnie and the Jitters gig - yes, the final show at that historic and keystone club. It is greatly missed, but at least I know I can get some groceries from the Asian deli now in the spot.
Doing some cleaning, I recently came across a stack of ticket stubs from shows and events I had seen in New York. While the shows the tickets represent is hardly inclusive to the shows I have attended, and it mostly certainly does not include clubs like Max’s and CBGBs, here are some of them. Note that I have some with no dates, so I will leave them blank. Notes will be in [brackets]. I have also added who I attended to the shows with, if I remember, or in certain cases, I know but do not want to say. Here they are in order of date:
* NY Rangers vs. Detroit Red Wing, Madison Square Garden, Feb 4, 1970 ($4.00) [My father would occasionally get tickets from the office pool]
* The Kinks, Felt Forum, Nov 27, 1974 ($6.50) [After the first half where they played older material, they returned and did the entire Preservation; attended with Bernie Kugel]
* Marcel Marceau, City Center, Mar 25, 1975 ($7.95) [Was on the guest list after interviewing him earlier in the day; attended with Alan Abramowitz]
* Mireille Mathieu, Carnegie Hall, April 8, 1975 ($5.00) [Beautiful voice; learned about her from the Des O’Connor Show on television; this was just 3 months before the first time I went to CBGB’s and was introduced to the Ramones; attended this show stag]
* Alice Cooper / Suzi Quatro, Madison Square Garden, May 5, 1975 ($6.50) [last row of the balcony, dead center, and he looked like a spec; saw Cooper a total of 4 times]
* Mary Travers / Paul Davis, The Bottom Line, May 19, 1975 ($4.00) [I saw her do the same show twice, and she wore the same dress… other date below; RIP]
* Rolling Stones / Dem Boys, Madison Square Garden, Jun 27, 1975 ($12.50) [Dem Boys was pure torture: a sea of steel drums in an echoing auditorium; it sounded like one long and continuous note, and I have not liked the sound of steel drums since]
* New York Cosmos vs. San Jose Earthquakes, Downing Stadium (Randalls Island), Jul 23, 1975 ($4.00) [Pele was in the Cosmos then; it was a long day, going into double overtime, and by the time we left, my backside was killing me, sitting that long on concrete seats]
* Mary Travers, The Bottom Line, Jul 28, 1975 ($4.00) [Attended with Bernie Kugel]
* Sparks / Mott, Avery Fisher Hall, Nov 19, 1975 ($6.50) [Opening was Mott; note that it was not Mott the Hoople; was on the guest list after interviewing Sparks the evening before: ffanzeen.blogspot.com/2009/04/bad-interviews-lynyrd-skynyrd-and.html; attended with Alan Abramowitz]
* Roxy Music, Beacon, Nov 26, 1975 (?) [Saw them twice, the other at the Academy of Music; attended with Bernie Kugel]
* Linda Ronstadt / Andrew Gold, Beacon Theatre, Dec 4, 1975 ($7.50) [Our seats were the very last row, left side; attended with Alan Abramowitz]
* Patti Smith, The Bottom Line, Dec 27, 1975 ($5.50) [The infamous show that was bootlegged everywhere; RIP Richard Sohl; attended with Bernie Kugel]
* NY Rangers vs. Buffalo Sabres, Madison Square Garden, Dec 10, 1975 ($6.00)
* The Who / Golden Earrings, Madison Square Garden, Mar 10, 1976 ($8.50) [The Who was amazing, of course, and did a large chunk of Tommy]
* Sparks, Bottom Line, Dec 21, 1976 ($4.50)
* Patti Smith Group, The Palladium, Dec 31, 1976 ($8.50)
* The Dictators / The Dead Boys, CBGB Theatre, Dec 18, 1977 ($7.50) [RIP Stiv]
* Patti Smith Group / Richard Hell, CBGB Theatre, Dec 29, 1977 ($7.50)
* Harry Chapin, Central Park, Aug 11, 1979 ($4.50) [Saw Harry a number of times; RIP; attended with Dennis Concepcion]
* Gary Puckett and the Union Gap, Club Tomato, Sep [?], 1979 ($4.00) [Attended with Alan Abramowitz]
* Herman’s Hermits [sans Peter Noone], Club Tomato, Sep 20, 1979 ($4.00) [Also saw HH with Noone once, and saw Noone without the HH once; attended with Alan Abramowitz]
* The Uncle Floyd Show, The Bottom Line, Dec 6, 1979 ($5.50) [attended with Alan Abramowitz and Stacy Mantel]
* The Tourists / Speedies, The Bottom Line, Apr 15, 1980 ($6.00) [The Tourists were Annie Lennox, Dave Stewart, soon to be the Eurythmics; attended with Alan Abramowitz]
* Alice Cooper (New York, New York show), Palladium, Aug 15, 1980 ($12.50)
* Dictators, ?, Sep 12, 1980 ($8.00)
* Rockpile / Moon Martin, The Ritz, Nov 24, 1980 ($10.00) [Have no memory of Moon Martin at all; attended with Alan Abramowitz]
* Blotto / Doug & the Slugs, The Bottom Line, Mar 16, 1981 ($7.00) [On guest list; RIP Doug Bennett]
* Franken and Davis, Savoy, May 20, 1981 ($3.00) [The show was a disappointment, despite the famous audience members, and many of SNL members guest appearing; this was the night I insulted David Bowie to his face; attended with Alan Abramowitz]
* Alice Cooper / The Spiders, Savoy, Aug 14, 1981 (12.50)
* NY Rangers vs. Buffalo Sabres, Madison Square Garden, Jan 3, 1982 ($8.00)
* Mireille Mathieu, Carnegie Hall, Apr 10, 1982 ($10) [The whole audience was full of Russians, which I found surprising; didn’t hear a word of English from the audience the whole night; attended with Alan Abramowitz]
* Dave Edmunds / NRBQ, The Ritz, May 17, 1982 ($12.50) [This is around the time Dave Edmunds was a phenomenon, and rightly so; while I respected NRBQ’s talent, I found them so boring, in a Phish kind of way, and my ex-FFanzeen managing editor had quit because I refused to publish an article about them; attended with Alan Abramowitz and Stacy Mantel]
* Let’s Active / Fuzztones, Irving Plaza, Oct 21, 1983 ($8.00) [I had met Lynn Blakey of LA at a party while on vacation in North Carolina a couple of years earlier; the Fuzztones are always great]
* The Animals, Beacon Theater, Nov 12, 1983 ($15.00) [on guest list; night I met them backstage and interviewed Eric Burdon (you can find the interview on an earlier blog); saw the same 2-1/2 hour show on the same tour earlier in the year at Shea Theater in Buffalo, NY; Attended with Mary Anne Cassata]
* Jonathan Richman and the Modern Lovers, Mar 14, 1987 (?) [This may have been the time at the Bottom Line; I’ve seen JR a few times; attended with Dawn Kugel]
* Sweet Honey in the Rock, Washington Irving High School [Gramercy Park], Jan 14, 1990 ($19.00) [Another group I have seen a few times; some of the most magical harmonies; attended with my partner and Tamani Wooley]
How many of these have you attended? Feel free to leave a comment on the blog!
Recently, I was asked by some friends (who are about my age) to teach them a little about the New York City punk scene in the ‘70s. The following is the list of records (both LPs and 45s) and CDs II played for them that are part of my collection. There is more I could have played, and there may even be some that were extraneous, but I chose from my heart, and from what I own. Certainly, I could have played stuff all night, but I tried to keep it somewhat realistic. Note that with the exception of No 1 and No. 31, I have seen all these bands play live in that time period, usually more than once, so stories went with the airings. I have supplied videos for them here, as many of the originals as I could find, with some exceptions (which will be noted).
This was the second “class” I taught, the first being the influences (including the Shangri-Las, Velvet Underground, Iggy & the Stooges, and the New York Dolls, among many, which is why they are not listed here). I will make some notes here and there, to explain my reasoning.
My attempt was to show the diversity of the scene, before the codification of second wave of British punk came to the US and turned this rebellion into the third wave of hardcore. I am going to assume that most of the audience viewing this will understand, though I am happy to answer questions about relevance, etc., at rbf55@msn.com. Also feel free to leave comments at this blog about my choices, or alternatives, or additions. 1. Radio Dinner: Deteriorata I started off with “Deteriorata” to emphasize the malaise that was growing in youth culture and society in general after Altamont, when things started to go “wrong” in the paradigm belief systems.
2. Television: Little Johnny Jewel
3. Richard Hell and Voidoids: Blank Generation
4. Richard Hell and Voidoids: Love Comes in Spurts I played the Voidoids album version, put this will certainly do.
5. Heartbreakers: One Track Mind I tried to show that this and “Love Comes in Spurts” is musically the same song, just that Walter Lure re-wrote the lyrics after Richard Hell left the band (as Walter wrote the music).
6. Heartbreakers: Let Go
7. Heartbreakers: Chinese Rocks Not the album version I played, but a good representative live one.
8. Patti Smith: Piss Factory
9. Patti Smith: Gloria
10. Dictators: Next Big Thing
11. Dictators: Master Race Rock
12. Ramones: Blitzkrieg Bop The song and band that changed everything for me.
13. Ramones: Rockaway Beach Still my favorite Ramones song.
14. Ramones: I Wanna Be Sedated
15. Talking Heads: Love -> Building on Fire I still consider this the best TH song, when they were still a trio; an non-LP single.
16. Talking Heads: Psycho Killer
17. Wayne County: Max’s Kansas City Could not find the version I played, and the live one with the Fast is just too different to make my point.
18. Blondie: X Offender From Blondie’s best album, their first.
19. Blondie: Heart of Glass The start of New Wave (mixing punk with mainstream); I’m happy to say the group was not into it.
20. Fast: It’s Like Love
21. Fast: Kids Just Wanna Dance Couldn’t find the powerpop version I love, before they went metalish.
22. Marbles: Red Lights It’s a live version, but it’s accurate (and enjoyable) enough to add here:
23. Milk and Cookies: I’m Just a Kid Decent live version, but not the record I played them.
24. Tina Peel: Fifi Goes Pop
25. Cramps: Human Fly
26. Cramps: The Way I Walk
27. Cramps: Garbageman
28. Cherry Vanilla: The Punk While this live version is not what I played, it uses the same backtrack as the single, so it’s similar and passes along the message. (Oh, and remember that the Ramones and Johnny Thunders are all from Queens…)
29. Flame: Beg Me The video sucks (not condoned by the band), but it is the right song. Don’t bother looking at the screen, just turn up the volume.
30. Tuff Darts: Slash Could only find the studio album version, not the Live at CBGBs one I played (i.e., Robert Gordon).
31. Dead Boys: Sonic Reducer The first American hardcore band?
32. Dead Boys: What Love Is
33. Suicide: Cheree For some reason, this song touched the group most positively.
34. Suicide: Frankie Teardrop I know someone who played this loud around when it came out, and a neighbor called the cops because of all the screaming.
35. Theoretical Girls: US Millie It’s nice this video includes the lyric sheet (still have mine, too).
36. Sic F*cks: Rock or Die 37. Sic F*cks: Chop Up Your Mother Both are on the video. Always end with a joke, I say, and I certainly mean that complementary.
This was another tape made for some long drives I was making at the time. As always, I have tried to find the original release of the song as it appears on the tape, and if that’s not possible, a live version. However, much of the music I listen to is indie stuff, so it’s kind of hard to find.
Oh, and FYI, I strong resent and hate the new ads that are popping up on video sites like Vevo and YouTube. SIDE ONE
Cadallaca – The Trouble with Public Places
Closely associated with Sleater-Kinney, this Cali trio has a great alt-indie sound that’s sharp, in both intelligence and beat. The live version of the song below (mine is off the studio CD EP) is hard to make out, but it tells of being pestered by some drunk (or druggie) while waiting for a band to show up, leaving the question of whether go home to get away from this tool and miss the band, or stay and be annoyed. I loved this song from the first time I heard it, and still do. Best cut on the EP. myspace.com/cadallaca
Mike Brown and the Sneakies – Fuck You
While the whole CD is great rock’n’roll in a bar/garage format, this song is a killer. It starts off with a callous phone message from the girlfriend telling the singer she’s leaving him, while bragging she’s been “lying and cheating…so, fuck off.” This song is the response, and it’s so well written, with lines like “Fuck you and your suicide sidekick / Fuck you as you both spiral down / I’m through with the lies and the bullshit / I won’t be there when you both hit the ground.” There’s a very catchy chorus that has to go through the mind during a break-up after the listener has heard it. myspace.com/mikebrownandthesneakies
Syd Straw – Think Too Hard
Syd was in the Golden Palominos, among other collectives, and has a great rock-meets-country sound. Surprise, the album this cut is taken from, though, is solid pop (with a country flair). Lots of pounding rhythm, gloss studio work, and I think a weakening of a great sound. That being said, there are a couple of really good cuts on it, including the Michael Stipe joined “Future Forties”, and especially this one. It’s a foot pounder, for sure, and manages to show Syd’s unique range. Sadly, I couldn’t find the video that goes with it, which is directed by Diane Keaton, of all people (who also did her “FF”) . sydstraw.com
Mystic Eyes – Turn and Kiss Me Goodbye
There are a number of compilations that feature the Mystic Eyes, and this is one that made it onto the Lonely Planet Boy comp, but not either of their (excellent) albums. This tune's a rip roarin’ number, with Bernie Kugel getting’ all in your face, with a scream of “We’re the Mystic Eaaayyyeeeeezzzz.” As with most of Bernie’s songs, there are a couple of amazingly great written lines, one such as in this case “I see your face / I see your eyes / The genius things / That only I surmise.” And, as is usual with a BernieTune, it has a melody line that is both sing-a-long, and a pleaser. When is someone going to do a tribute album of his songs, already? I mean, the Cynics did a wicked cover of his “Girl, You’re on My Mind,” and the Dark Marbles have already covered “Walk Around the World.” There is just so much more that needs to be heard. (RIP Eric) mysteyeco.20megsfree.com/index.htm
Molly and the Haymakers – Jimmy McCarthy’s Truck
Solid country, this is another rave-up. I found this CD at Sounds (St. Mark’s Place) for $2.99 a while ago, and keep coming back to this song about first love. She states, “Jimmy and I, you know that we were tight / In that cabin we learned about the night / My mama said, ‘What do nice girls do / ‘Til 25 to 2?’ / We were riding around in Jimmy McCarthy truck.” There’s a couple of lines I’d love to excise from the song where she states that growing old “becomes a growing fear,” which brings down the mood just a bit. Still, every time I hear this song, I’m happy.
California Speedbag – Shitlist
Off a compilation collection called Pies and Ears, this is one of the great punk country “I kilt my wife” songs. Takes a long time to get to its point, with a slow pounding melody, and then Gary Lupico’s creaky vocals come in, to a song that never lets up. The protagonist, in prison, wonders, “Am I on your shitlist Jesus / I know I’m no saint / They tell me that I’m worthless / Jesus tell me that I ain’t.” He further explains, “I never would have loved her / If I know’d she walked the line / And I never woulda shot her / If I know’d I’d do the time.” His voice sounds like he really has had a rough and tumble, hardscrabble life (RIP Gary). myspace.com/californiaspeedbag
Melanie – Almost Like Being in Love
I heard this as a bonus track on the CD release off the Melanie album. She takes the tune from Brigadoon and makes into something completely else, using dissonant notes and a sweeping melody (rather than the original hokey love ballad). With harmonious backup singers, she shows that she wasn’t just some hippie singer, but a well-rounded, talented New York musician. Though I’ve seen her in concert a few times, I regret that I didn’t get to meet her when she was recording in a studio while I was working in the office (early ‘80s); didn’t know she was there until after she left. The live video below is pretty close to the studio version on my tape. melaniesmusic.com
Life Underwater – Lead Me On
Author/musician/poet JD Glass is the core of Life Underwater. This live cut is one of LU’s strongest cuts, though all of them are well written and played. They’re sort of a cross between rock and singer-songwriter, depending on the line-up at any particular time. LU have a new name now: The Charm Alarm, and I’m looking forward to hearing more of their tunes.
Read an interview I did with lead singer JD here (Part I; see list on right side of page for link to Part II: ffanzeen.blogspot.com/2007/12/co-interview-with-writer-musician-jd.html). myspace.com/lifeunderwateronline
Manitoba’s Wild Kingdom – The Party Starts Now
When rhythm guitarist Top Ten left the Dictators, they broke up, but they couldn’t stay apart (yet). Handsome Dick Manitoba, Andy Shernoff and Ross the Boss (along with a new drummer) reformed into essentially a leaner, meaner Dictators. This song is a kick-ass rocker that equaled the ‘Tator’s material. The video is kinda cheesy in a rock-chick filled mess, but the song holds up. Yankees lovin’ HDM’s gum-chewing is a more funny than distracting, but the only sad thing about this song is more people know this video than any of the Dictators canon. Perhaps it’s the women wearing sports gear? Not sure, but this is solid fun anyway. last.fm/music/Manitoba's+Wild+Kingdom
Slickee Boys – Going All the Way / Glendora
The Slickee Boys were one of those bands who deserved to get a lot further than then did, whether Martha Hull is singing with them or not. Mark Noone’s vocals are great on these songs, and Kim Kane (the tall thin guy) has such a great presence. The medley of these two songs are so good, that I had to add in another song that I love as much as the one’s here (I’ve seen them live a couple of times, once at CBGBs, and they are an amazing live band). “GAtW” has a strong driving melody and rhythm, and “G” is a hilarious cover (once sang by Perry Como, though the SB’s take is closer to the underrated Downliners Sect’s version). See two early renderings of this song after the blog) about falling in love with… naw, I won’t give it away. myspace.com/slickeeboys
Bonus Video, just because it is so good:
Barbara Manning – Smiling
I only have one album by Manning, and it’s really decent lo-fi, high kitsch, in a way that twee artists like Adam Green have been trying to reach for years. Her voice is vague on melody, but so full of richness, it doesn’t matter. Just very simple and easy. (Note that I may have the name of the song wrong!) myspace.com/Barbara Manning
Media Ecology Unplugged – Hands of Captain Ludd
MEU is acoustic songwriters John McDaid (taking lead here) and Bill Bly, who tend to sing, both directly and indirectly, about culture, technology, and politics. For example, “HoCL” is about the Luddites failed violent revolt against the rise of the industrial revolution. This dissonant chorded (hence tense) piece tells not only the story of one of Ludd’s followers, but a technological history of how machines have been used as a means of control (“When the Roman Empire fell the Church used the bell for a hell of a devious scheme / To summon their flock they invented the clock, they made time with their new machine”). MEU have songs that are hysterically funny and deadly serious. You can download all their songs free here: www.infomonger.com/meunplug/
SIDE TWO
The Cramps – Garbageman
“You ain’t no punk you punk!” starts off one of the great songs of the Cramps that came in their important transition period, between voodoobilly and garage-billy (i.e., post-“The Way I Walk” and pre-“Goo-Goo-Muck”), when they were arguably at their strongest. There are lots of driving rhythms and wild guitarwork around this drug seller tale, but it’s the great bon mots that come out of it that helps make this such a great take-away: “If you can’t dig me you can’t dig nothin’” Lux spits out. With fevered pitch, he repeatedly asks, “Do you understand?” The video was shot in less than an hour, and looks as good as many of the MTV-level ones from the period. (RIP Lux; RIP Bryan)
Joey Ramone – Stop Thinkin’ About It
Joey’s one and only solo album was full of songs of hope and promise, as he was battling the cancer that claimed him. “Nuthin’ lasts forever, and nothin’ stays the same,” Joey looks positively ahead. The song is slick without being overly so, in a non-Top-Ten kinda way; he certainly didn’t embarrass himself like the “Funky Guy.” Joey could have had a long career as a lone act, more so than the other bruthas, but was tragically cut short, just like the other bruthas. (RIP Joey)
Mary Lou Lord – Lights are Changing
MLL opened her 1995 EP with this Bevis Frond tune (backed up Juliana Hatfield). It sounds almost out of place with the rest of the release, with its high production value (the rest on the EP is simply her voice and guitar). That being said, the whole thing is amazing and I can listen to all the songs straight through (except the last cut, a cover of “Speedy Motorcycle,” a song I never cared for whoever did it). The video is a different version from a EP release, but it holds up as a great song nonetheless, using imagery of her history of subway busking in Boston. MLL is another who deserves a bigger shot (read my interview with her here: ffanzeen.blogspot.com/2008/10/mary-lou-lord-who-is-mary-lou-lord.html) myspace.com/maryloulord
The Murmurs – You Suck
The Murmurs have a phenomenal and dedicated (mostly female) following. This song is just one of the reasons. From their sophomore release (before they became more rock based and then changed their name, eventually broke up both the band and their relationship). This song is one of their strongest, and one of two videos that were made off this album (the other is “Bad Mood”). People who have seen the video know it for the chorus “Right now there’s dust on my guitar you fuck / And it’s all your fault / You paralyze my mind / And for that you suck.” But there’s also redemption in the song that’s no less clear than in “I Will Survive.” The harmonies are sweet, the melody is memorable, and the tension just builds beautifully. I haven’t seen a video where the “f” word isn’t cut out, so here you go. last.fm/music/The+Murmurs
Transparent – Anything (In 3)
In the heady Punk Temple days in Bensonhurst during the early 2000s, I saw Transparent play. They were one of the first bands to give me their (4-song) CD to review. From Providence, RI, the band had (I’m using past tense assuming they are not a viable as a unit as their Web site doesn’t exist) a strong sound. This particular song, which stood out during their live show as well, is a great grinding punk piece, with singer Keith Allen yelling out on the chorus, “And I would do anything / Just to keep you satisfied.” Pure romantic angst at its finest. Some bands may not last long, but they have the potential of releasing some excellent sounds, such as this one. Other members were Adam Riley (guitar), John Farley (rhythm guitar), Sweet Chris (bass), and Rich Bocchini (drums).
She Wolves – Hundred Bucks
There are different versions of this song by varied line-ups of this band (though two of the three have remained the same), all of which are worth a listen, but this one from the first EP is my favorite. Solid Ramones-influenced metal gnashing with Donna She Wolf screaming out “All I fuckin’ need now / Is a hundred bucks / it’s not for drugs!” The music is solid drive. This tune is short, simple, and relentless. Newer versions are more Ramones-metal than Ramones-punk, but it’s still just killer stuff. Check out the She Wolves’ (so far) masterpiece full sludge-crunch-metal CD, 13 Deadly Sins. While this type metal is not a genre I commonly listen to, the She Wolves are so amazing that it is one of the bands I truly miss being away from NYC. Big hugs Donna and Tony (and whoever is playing bass now). shewolves.com (though their MySpace page seems to be more up-to-date).
John Otway – Beware of the Flowers Cos I’m Sure They’re Gonna Get You (Yeah)
John Otway is one of those guys who either you’ve never heard of or you just like. There is an amazing greatest hits collection that I listen to all the time. From the first time I heard him in the late ‘70s (when he had long hair) and had the opportunity to not only see him play a couple of times, not to mention interview him for my fanzine – thank you Janis Schacht - I knew he was worth a listen. He reminds me of a British Willie Alexander, but more in a more rock vein. Along with then-partner Wild Willy Barrett, he would tour around and just smash away, but with imaginative tunes and lyrics that were, well, John Otway written as only Otway could. Whether he’s writing about “Louisa on a Horse” (a song produced by Pete Townsend) or “God’s Camera,” he takes simple concepts and blows them up into a sing-along melody and words. There are so many wonderful songs he’s written or covered and made his own. And so, this is the big one, proper. Johnotway.com
Morphine – You Look Like Rain
Actually, I find most of Morphine’s output to be pretentious and boring, but I really do like this song. It’s almost growled and could have been easily turned into a leer, but it’s more about desire than lust, and that’s to the singer Mark Sandman’s compliment. Morphine were trying to reinvent rock’n’roll, but ended up being some cross between rock and jazz, and, in my opinion, failed at both. But even artists who do not interest me in general may have a cut that I will enjoy. I’m usually open to find some nuggets. (RIP Mark)
Planet Smashers – Fabricated
Message to Gwen Stefani: this is ska, not the crap you produce (or ever had). Okay, the Planet Smashers are a ska band from Toronto, and from the first listen, it was solid Madness / Specials / Bad Manners, but even faster. As a student of Media Ecology, “Fabricated” spoke to that side of technopoly that Neil Postman and Jacques Ellul posited. The chorus states, “We are fabricated / we are regulated / We will fight to control the truth.” I don’t have much more to say about this, except give it a listen. Planetsmashers.net
Waldos – Sorry
Do I really need to explain about Walter Lure? Is there anyone who reads this that needs more info on him? Well other than checking out the interview on this blog (ffanzeen.blogspot.com/2009/10/walter-lure-on-gross-state-of-art-part_27.html: the second part is on the same day in the blog). The Waldos still exist, and their Rent Party album is as fine piece of work all the way around as the Heartbreakers. In the song, Waldo kicks out a groupie who was expecting more (“Next thing that I know you’re making eggs and cheese / Next thing that I know you want to live with me / I gotta go, what can I say / Sorry you took it that way”). As with most of the cuts on the CD, this one is guitar-driven and chain-saw revs. The video is a more recent live version. (RIP Tony; RIP Richie) myspace.com/walterlure
Washington Squares – D Train
Made up of an ex-New Wavers (Lauren Agnelli of Nervus Rex) and two ex-punkers (Tom Goodkind of U.S. Ape; Bruce Jay Paskow of the Invaders), the WS developed a beatnik look of wearing black (or black and white horizontal stripes), including sunglasses and turtlenecks, and sang both modern and traditional folk, but they did it with a sense of both respect and irony, playing the Civil Rights edge as a response to Reganomics. About half their songs were covers, the others original (all three contributed). This one touched a nerve, not just because it’s a rave-up. At the time, my pal Alan lived on the D line, so he could relate. Ironically, after some major subway construction, the D train was rerouted in Brooklyn (replacing the B) and became my train. But the song isn’t really about the subway, it’s about being stuck in a mundane job. Other WS videos are available, but not this one. (RIP Bruce)
www.washingtonsquares.com/
Linda Ronstadt – Close Your Eyes
As I’ve stated before (much to the chagrin of a reader), Linda’s country period of the early-to-mid-‘70s was her strongest (before she started trying to be more pop with covers of Buddy Holly and Motown). This James Taylor song is a strong example of why I believe that. It’s smoky and sensual, definitely Linda at her best. lindaronstadt.com
Gotta go find it as embedding not permitted by these corporate suits: youtube.com/watch?v=5UVBXOCd_fc
Mystic Eyes – I Thought I Saw a Tear Mystic Eyes – Share
I was relistening to their Our Time to Leave album when I was making this tape, and as I love these songs (actually, I like all the of the material on it), I added them on. “ITISAT” is typical Kugel pop; in other words, a marvel of songwriting, in this case fueled by Scott Davison’s rapid-fire drumming. But with “S,” bassist Craig Davison takes charge, writing / singing / playing just about everything in his then-home basement studio, proving that he is a Renaissance man with this strong kiss-off tune that has a hint of pathos (“Go to your cross-town love / You are now his alone / You’d rather share your love / Than to be mine alone”). Oh, and check out Craig’s blog at who-really-cares-anyway.blogspot.com (link is also on the right of his page).
Mason Williams – Classical Gas
This is one of my favorite instrumentals, period. I own a large collection of his works (both music and print), and the album this comes from, The Mason Williams Photograph Record, is one of my favorite records of all time (along with The Mason Williams Ear Show and Music). “Classical Gas” had a resurgence when it was used as the theme to the Bruce Willis / Michelle Pfeiffer ’99 film The Story of Us (redone by Eric Clapton; youtube.com/watch?v=bX9wE6TA80Q&feature=related), but I’ve been listening to it all along. This is a guitarist’s dream piece, and I’ve heard it played excellently by the likes of Glen Campbell (youtube.com/watch?v=YX6kCqgBffY) , Chet Atkins (youtube.com/watch?v=DRtvALWlKK4&feature=related), and Jim Stafford (youtube.com/watch?v=xdWXo-mMjZk). The video is a live version, but has the integrity. masonwilliams-online.com/home.html
This tape was created for a very long drive from New York to Nova Scotia. It was the last tape I made before switching to mixed CDs. As always, I have tried to find the original release of the song as it appears on the tape, and if that’s not possible, a live version. However, much of the music I listen to is indie stuff, so it’s kind of hard to find. SIDE ONE
Mary Lou Lord – His Indie World This was off her first EP, arguably one of the strongest of her releases, on SubPop. She recorded in Seattle (before being famously chased off by an off-center rocker rival), but comes from Boston, with a history of busking on the subways there. In this tune she complains that her boyfriend wants to listen to said indie music while she’s more interested in “my Joni (Mitchell), my Nick (Drake), Neil (Young) and Bob (Dylan), you can keep your Tsunami, your Slant 6 and Smog.” In this song, she mentions a ton of bands, most of who went on to further fame: “I said ‘What’s the story?’ / He said ‘Butterglory’ / I said, ‘What’s the news?’ / He said ‘The Silver Jews’”). Check out the lyrics on the Web, they’re quite fun.
The Good – Judy Bernie Kugel redid the song when he was in Mystic Eyes, but way before that, his original band, the Good, did a lower-fi version for Tommy Calandra’s BCMK Records (that’s Buffalo College of Musical Knowledge). The swirling keyboards take the listener on one of Bernie’s many great pop garage tunes of the era. While we’re still waiting for “Mail on Sundays” to come out, I am happy with this cut. Both versions of this song are great, but this one, being the one I heard and learned to love first, holds a warm spot in my heart.
The Byrds – Eight Miles High As someone who is not into hallucinogenics (though the band seemed to have been from the video I’ve seen of them doing this song live on German TV, they’re so obviously stoned), I still find this song to be powerful. McGuinn’s 12-string just sings in this classic. Yeah, Husker Du did a decent version, but cannot compete with this one. Usually, long songs with solos are not my speed, but this one is different. Yet, my fave Byrds song remains “Child of the Universe,” their theme song to the film Candy (I have it on another tape).
Blues Magoos – (We Ain’t Got) Nothin’ Yet” This is one of those iconic guitar-and-keyboards songs from the late ‘60s, with a pounding, dum-dum-da-dum rhythm. You hear any part of this song, it’s instantly recognizable. One of the first hit self-bragging songs I know of (“You know we’ve got what it takes / But we ain’t got nothin’ yet.). Couldn’t copy the song, so here’s the link: youtube.com/watch?v=GOGRTLn2uKY
John Otway – Josephine I’ve been a fan of Otway since the late ‘70s, when his Stiff Records were released. Teamed with fellow guitarist Wild Willy Barrett, he was just insane, but after they split, John started his second stage, which allowed him to do more serious songs, such as this one. The topic is of a local harvest festival, and the teen that is chosen to lead it (“And the crowd screams “Josephine / Our May Day eyes are on you”). Otway has a unique voice, both phrasing and style, and he always seems to be enjoying himself. There is a greatest hits package of his, and I highly recommend it.
Phil Ochs – The Highwayman One of many songs based on the Alfred Noyes poem (actually, John Otway has one, as well); this is probably the best known. It’s a long piece (and a longer poem), but Phil keeps the interest high as “Bess the landlord’s daughter” makes a futile sacrifice for her highwayman lover. It’s a romantic piece, for sure, but the title character’s actions at the end seem to nullify. And yet, it remains a beautiful song. The video is a wilted, live version, rather than the feisty recorded one.
3 Days Grace – I Hate Everything About You This song came to me by way of a three-song give-away disk at some store. I was instantly entranced by the emotion of it. At the time, I mentioned it to a friend, Vonny, and she said that she didn’t like the singer’s voice. Thing is, she’s actually right. Yes, I still like this song, but every other thing I’ve heard from the band has left me cold. Good call, Vonny! My one amusing story about this band is when I was in an Ontario Zeller’s, and this song came over the PA. Seemed like an odd choice, even if the band is from Canada. There’s an official music video to this, but it’s verbally edited, so here is this one.
Linda Ronstadt – I Can’t Help It The original Hank William’s one is arguably superior, but I don’t own any of his material on CD (the source for the rest of the songs), so I went for the Linda R one instead. I run hot and cold with Ronstadt: her ‘60s stuff (such as “Different Drum”) and Heart Like a Wheel country material are enjoyable, but I find the period after that and on (covers of Buddy Holly, etc.) kind of flat. This song shows some of her range.
Linda Ronstadt – Keep Me From Blowing Away This sad, wistful song has a country feel, but it’s more modern country pop. And yet, again, I like it a lot. There have been many times I’ve felt like this song, wanting some kind of anchor, something solid in my life, to keep me grounded. She emotes well here, that feeling of restlessness.
Kris Delmhorst – Hurricane This remains my favorite Kris Delmhorst song (so far). She equates a hurricane to the volatile relationship to which she’s currently involved (“I’ve always kept the company of clouds / I like my lightning bright, my thunder loud / I was never one for bluer skies / All that bright sun droning in my eyes / So blow me down, blow me down and leave me lying in your wake”). She’s still early on in her career, so there’s bound to be more great music to come. This is a live video, which is a bit distorted, but the sense is there.
Contraband – Hard Life Howard Bowler and his brother David, of the Marbles in the heady CBGBs days, lead this folk / country / rock / jazz band, and now have at least three full length CDs out. A Howard original, this song is almost oppressive in its negative charge, with dissonant notes and pressed lyrics (“The sun is shining / And all I get is rain / Comin’ down so hard / It’s drivin’ me insane”). It’s actually a powerful song, and Howard’s vocals shine with just the right unflinching tip of bitterness. Like the blues, it’s in your face, and yet somehow makes the listener feel better.
Dusty Springfield – The Look of Love Has anyone ever done a sexier version of this song than Dusty? Can they? I mean, she has a sultry voice to begin with, but this is one of her finest in this romantic mode. She practically whispers in your ear. Even her phrasing with pausing between words keeps you on your seat. Herb Albert’s horn also stands out here, with a couple of interesting false endings. This song just lulls me, from the first time I heard it in the ‘60s version of Casino Royale (as Ursula Andress seduces Peter Sellers).
Bob Crewe Generation – Peter Gunn This makes me think more of Courageous Cat and Minute Mouse more than Peter Gunn, but it’s a great iconic television theme song from the golden era of television; a classic noir in aural form.
SIDE TWO
The BKE – TBD Can’t talk about these two demos yet, but there are gonna be a lot of happy fans out there.
Margo Hennebach – After All There are two versions of this song, one on Margo’s second collection, Big Love, and one with her trio, Mad Agnes, Live at UH. This one is from the former, but they’re both done excellently, and I tend to listen to them both; I just had this one when I made the tape, though. Margo is one of my favorite modern singer-songwriters in the journeymyn tradition. With a hint of the Celtic, her songs are strongly supported by guitar and piano (both hers). I interviewed her the day of Woodstock II, just across the Hudson River from it, in fact. It was an enjoyable day, sitting on her porch and talking music (that interview can be read at this blog, dated October 26, 2008).
CSNY – Suite: Judy Blue Eyes My cousin Ken’s favorite song, but I didn’t know that when I put this tape together. While CSNY were one of those groups that annoyed the crap out of me in the early ‘70s (along with Yes, Kansas, America, and all those other bands that it seems everyone listened to when I was in college before punk hit), but someone gave me a greatest hits CD, and this one grew on me. It’s a long ode to Judy Collins (from Stephen Stills), but it changes often (hence the “suite”), and is not cloying.
Maria McKee – You Gotta Sin to Get Saved It was not Lone Justice that got me interested in Maria McKee, but an appearance on a TV show called Night Music, singing “Breathe” from her first solo release. Love at first hear. While there is a lot of subtly in Maria’s voice, damn she can belt them out good. This live in the studio recording from her record by the same name, is a bluesy, ballsy gospelly number that is nearly the female side of “Lightenin’ Strikes.” She tells her boyfriend “I could never shame you / Honey, you’re by pride and joy / But what’s a girl to do, now, daddy / I’m drowning in a sea of boys.” She further explains that “If I make an honest vow / To someday where a dress of white / ‘Cause scarlet’s what I’m wearing now.” Great song with a fun call-and-response chorus.
Al Yankovic – The Saga Begins A freakin’ brilliant cover of “American Pie,” but with lyrics reflecting the fourth Star Wars film, Chapter 1. Weird Al tells the entire story here, in his usual witty way, using similar rhyme patterns to the original (“Oh my, my this here Anakin guy / May be Vader someday later / Now he's just a small fry / He left his home and kissed his mommy goodbye / Sayin' ‘Soon I'm gonna be a Jedi’”). I laughed all the way through it the first time I heard the song. It still bemuses me.
David Wilcox – The Kind of Love You Never Recover From Off a sampler CD (two songs each from 5 albums), this was part of a tribute release for Christine Lavin, who wrote the songs. Wilcox’s reading is very spare, and full of emotion. The song is about wishing you had said something – the right thing – before your lover leaves (“At times like this when the moon is right / When the air is foggy like it is tonight / She'll think about what might have been / If she had just held on to him.”). It’s a sad song, but as with just about everything Lavin writes, it has a strong heart.
Barbara Kessler – Attainable Love Another Christine Lavin-er from the same sampler, this time the topic is being in love with someone who is commitment phobic, wishing she could change someone unchangeable (“Add me to the list of women / Who think you'll be different with me / Add me to the list of fools / Who flatly refuse to see / That just like me....”).
Susan McKeown – Winter King A strong Celtic tune from someone deeply associated with the genre. However, in this piece, McKeown also modernizes the arrangement to make it something else. Not with a disco-like beat some Celtic artists seem to have added (since those annoying dance-track Gregorian Chants), this is more rockish. I was going to put the next song from the CD, her killer version of “Aud Lange Syne,” but decided against it.
Leonard Cohen – Take This Longing Gotta say, the opening guitar chord to this song is not my favorite. It’s clanky and annoying, but once the listener gets past that, the song unfolds. Unfortunately, I found after listening to this tape on the road that I had to crank the volume all the way up, because the car noise was drowning out Cohen’s soft voice. Still a great song, though (“Take this longing from my tongue / All the useless things these hands have done / Let me see your beauty broken down / Like you would do for one you love”). Yes, the man is more than just “Suzanne” and “Hallelujah.”
The Dictators – Next Big Thing “I didn’t have to be here you know. I didn’t have to show up here. With my vast, financial holdings, I coulda be basking in the sun in Florida. This just a hobby for me. Nothin’, y’hear? A hobby!” With that, the opening cut to the ‘Tator’s first album starts strong and doesn’t let up. As they say later on in the tune, “We knocked ‘em dead in Dallas / And we didn’t pay our dues / Yeah, we knocked ‘em dead in Dallas / They didn’t know we were Jews.” Ah, the boys from the Bronx. I say again, DFFD. The video is a live version, without the intro, unfortunately. s
Currently living in Saskatoon (email at RBF55@msn.com for address). From 1977-88, I used to publish a print version of a music magazine in New York called FFanzeen, which dealt with the wide-ranging independent music scene. I also photographed many bands from the period (and since). Now I write this blog. And the beat goes on.
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