The Sex Pistols were still an active band in 1978, when London’s The Monochrome Set formed. The Clash was going strong and about to release London Calling when this video was recorded in September of 1979 in Minneapolis, during the two-day Marathon 80: New-No-Now-Wave festival. And yet, much as Brit punk was a shot across the bow to both the social climate of England at the time and the New York scene, aka First Wave Punk (yes, it was, Greil), The Monochrome Set (TMS) was - in its own way - a fuck you to the British Second Wave.
From 1976-79, British punk was largely flash and thrash, that is fashion and deconstruction. TMS seemed to borrow more from the burgeoning US Midwest scenes and the New York No Wave movement that began around 1977. Both these employed stilted rhythms, stoic stage presence, and an adapted-yet-played-down Mod fashion (e.g., straight ties, sunglasses, and earthtone clothes).
While I would be hard pressed to call TMS “No Wave,” I can see shadows of the blaring of the Contortions, the minimalism of industrialization, and the monotone of any of a number of that subgenre’s bands. Yet, within that, it’s easy to hear the kinds tones that would show up shortly on the Fresh Sounds of Middle America cassette series from Bill Rich’s Talk Talk fanzine in the early 1980s…and yes, I still have them. Crisp, occasionally atonal, and yet at other times quite earworm-like (see the song below). I always thought this style was a milder rock’n’roll version of the kind of jazz Miles D. posited on the world. And like Davis, this sound did not last very long, swallowed up the hardcore scene and the polar opposite proto Boy Bands (e.g., the Bay City Rollers).
Despite the static stances of TMS playing live, there is something about them that is enjoyable to watch. While they were influenced by others, the amalgamation (or synergy, if you will) would go on to influence others, arguably such as Tommy Tutone (“867-5309”), the Producers (“What’s He Got”) and the Split Enz (“I Got You”).
This was obviously taped by (a) an amateur person or organization, and (b) probably either onto reel-to-reel video, or a 3/4” videocassette; perhaps a Beta. It’s grainy as hell and a bit tinny, but being familiar with video of that period, it’s actually quite good (compare it, for example, with the infamous The Cramps video of the same era). Of course, in just a few years, the introduction of the 1/2” videocassette would change everything, but I digress…
But, all things considered for its era, the use of multiple cameras and superb editing, we have an important document of a band in its nascent years. Most of the songs they perform would show up on their first album, Strange Boutique (1980), including the wonderfully monikered “Eine Symphonie Des Grauens (part of the title of the classic 1922 vampire flick, Nosferatu. There are many memorable songs here, such as “He’s Frank” and the abovementioned “Strange Boutique.” There are also a couple performed by the bassist, Harrington, for which this is the only time it was filmed live. That’s a good thing because while the songs themselves are decent, his voice is not. Luckily, Bid sings most of them.
This is worth checking out if you’re interested in the period, because it’s so much of an anomaly for the period of British music. Plus there are some great songs in there, as well.
Track Listing The Monochrome Set
Fallout
Tomorrow Will Be Too Long
Fly Me to Moon
The Etcetera Stroll
Mr. Bizarro
Love Goes Down the Drain
Ici Les Enfants
Lester Leaps In
Eine Symphonie Des Grauens
Martians Go Home
The Lighter Side of Dating
Viva Death Row
He’s Frank
Goodbye Joe
The Strange Boutique Encore: Expresso
Alphaville
I met Rocco Cippolonein the early 1980s, through a mutual friend, and when I started traveling up to Boston twice a year during the first half of the 1980s, we would hang out together by going to shows. We developed a friendship that I certainly enjoyed.
Rocco, who often went under the nom de photo of Peter Parka, loved the Boston scene and would go to as many shows as he could. He was a bit shy with his thick Italian accent, but as the bands all got to know him, they trusted him to do them justice in the lens.
About twice a month, I would receive some 5x4 black and white photos that he would process himself (a skill I never learned), which would be of musicians he had seen over the previous weeks.
Not only did he like the milieu of bands and the music they produced, he particularly fond of female musicians, especially Salem 66, but his fixation was Barb Kitsen, of the band The Thrills (who would go on to retool as City Thrills). Perhaps it was her addictions making her that unavailable bad girl, but he would talk about her often, and send a lot of pictures of her performances on stage.
Rocco was, obviously, an excellent music performance photographer, and he captured a lot of the scene throughout the ‘80s. Some time in the mid-‘80s or so, he started his own fanzine, Bang!, which was 8x10, well printed, and looked great.
Somewhere in the early ‘90s, Rocco changed the focus of Bang! to exploitation and “b” movies. Then he seemed to disappear off the face of the earth. There was some speculation that he ran off, back to Italy, but it’s that just a theory. He has not turned up anywhere on social media that I could find, so if you’re seeing this, Rocco, please get in touch.
Two things to note: first, I scanned these from the photos he sent me, and they have certainly lost some definition in the process. His pictures are quite sharp, though they seem a bit grainy and washed out here. Second, I am making no profit off of these photos (and don’t expect anyone else to do so, other than Rocco), and am doing this blog to honor his work. I would love to see a Rocco Cippolonebook of photos one day.
Johnny Thunders [d. 1991]
Nico [d. 1988]
Sparks
Willie Alexander
X: Excene Cervenka
John Sebastian
Iggy Pop
Jim Carroll [d. 2009]
The Go-Go's: Belinda Carslile
The Cramps: Poison Ivy
The Gun Club: Jeffrey Lee Pierce [d. 1996]
Bebe Buell
The Lyres: Jeff "Monoman" Conolly
The Neighborhoods
Salem 66
Joe Viglione: The Count
Legal Weapons: Kat Arthur
Boy's Life: Johnny Surette
City Thrills: Barb Kitsen [d. 2006], Johnny Angel, Sean McDonough
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 was a cassette tape that I believe I put together in the mid- to late-‘80s. The videos (when available) that follow are not necessarily the versions on the tape, but it’s the closest I could find. As usual (but not always), my tapes are a mix with no general theme, just random songs I really liked at the time (and most likely still do). SIDE ONE:
Tom Paxton - Last Thing on My Mind
This is, indeed, one of folk legend Paxton’s best known songs. It’s a beautiful and melodic heartbreaker, with a lilting minor-key chorus for emphasis. “Well, I coulda loved you better / Didn’t mean to be unkind.” What I like about his is that it doesn’t blame anyone, as he is willing to accept his own fault in the fail of the relationship.
Get Wet - Morton Street
One of the strongest songs on their album, and one of the few not weighted down by bad production, this is another powerful piece about a woman in love with a gay man who leaves her to go cruising. Sherri Beachfront’s voice cuts through the listener like a razor of heartfelt pain as she cries out, “Don’t go down to the piers tonight!” This video was taken at the Ritz at a Girls Nite Out show, and yes, I was there! I was so happy to see that this video existed, and I highly recommend playing some of their other songs, as well. And check out my interview with the band in the preceding blog.
Paula and Carole - Open Window Song
I’m not quite sure what is the appeal to me about the music from this children’s program, The Magic Garden, but it seems I know a lot of rockers who agree. Carole was actually the original Sandy Dumbrowski on Broadway (if you have to ask…). There is just something appealing about their voices. Amazingly, I could find lots of videos from the show, but not this song!
Jennifer - Time is On the Run
Way before she was Jennifer Warnes, she was known simply as Jennifer. I first fell in love with her rich voice during a Smothers Brothers reunion show, and then through her co- and back-up work for Mason Williams and Leonard Cohen. When her breakthrough Right Time of the Night album came out in 1976, I was fortunate enough to see her play at the Bottom Line. This particular song, from her second album, released in 1969, is backed merely with percussion; it bops and bounces silkily along in a nearly a capella staccato.
Keith Carradine - It Don’t Worry Me
This tune is from the amazing soundtrack to the film Nashville. The One of Altman’s best (in my opinion), but the soundtrack is almost its own entity, as these cuts rarely appear in the film in same production. As a “various artists” release, it stands on its own, with gems by the likes of Ronee Blakey, and this subtle slice of Americana. It sounds like it could have been written by Woody rather than the son of John. Right from it’s start, it has a powerful image: “They say this train don’t give out rides / But it don’t worry me.” While Keith had a hit with another song (see later), this one is just as good. Barbara Harris sang it in the film.
Beatles - While My Guitar Gently Weeps
This is as much a Beatles song as is “Yesterday.” It is solid George Harrison at his best, and heaven knows I’m not the first one to expound this. And I certainly feel no need to go on and on; the song speaks for itself.
Harry Chapin - Caroline
Not only could Harry tell a great song story of disenchantment, loneliness, and despair, he could also present a beautiful love ballad. This is, if you will, his equivalent of S&G’s “For Emily Whenever I May Find Her.” He explains how fleeting his relationship with her as she “Whispers her words / Saying she'll always love me / At least when we are together.”
Buffy St.-Marie - Universal Soldier
I first learned this song as a child at Camp HES, around the time the Vietnam “war” was just heating up and protest songs were becoming big (we also learned Phil Ochs “Draft Dodger Rag”). Buffy has an unmistakable voice, but what appeals to me is just the sheer dedication she projects. If you’ve ever seen her perform, the woman is solid sincerity. Her “Now That the Buffalo’s Gone” is just as amazing.
Lucy Simon - If You Ever Believed
While her sister Carly garnered most of the fame, I always enjoyed Lucy’s voice and songwriting better. She came out with two solo albums in the ‘70s, and both are gorgeous. This song is another of longing, as are many on this tape, letting her ex- know, “Hey, if you ever believed / Then come back to me / There’s someone who needs you.” It’s pleading without whining, a rare feat. Recently, Lucy wrote the score to the play “The Secret Garden,” but I’d love to hear more of her as herself.
Get Wet - Single
Shari Beachfront’s beautiful voice is in fine form, as is her “theatricality”. She told me she acts out her songs as she’s singing them, and this is one that shows a wide, wide range as she changes keys upward a couple of times only to be even more mournfully reinforcing that she’s “back to single.” Along with “Morton Street,” this shows her wide range and talent as a performer, as well as singer.
Seeds - Can’t Seem to Make You Mine
Okay, this has to be the whiniest song in the history of rock’n’roll, but also one of the great rhythms. Just recently it started to be used in some TV commercial, though it had also been covered years ago as one of the early solo releases by Alex Chilton (who possibly did it even whinier!). The exclamations of pain between each line of the stanzas are both wrenching and humorous at the same time. When Sky Saxon sings, “Can’t you see what yer doin’ to me / You fill my heart with-a misery / With every breath, every step I take / I’m more in love with you,” the listener can feel it in a palpable way.
Standells - Sometimes Good Guys Don’t Wear White
From the first time I heard this song in the early ‘70s (played to me by Bernie Kugel), I found it to be a better song than “Dirty Water,” which in itself was an amazing release. The Standells were great when it came to musical catch-phrases, and “SGGDWW” is definitely one of them. All you have do is hear that beat and know what song it is. And the use of lyrical rhyme all works, with the tongue-twisting “I’m a poor boy born in the rubble,” as they ask important social questions, such as “Good guy, bad guy, which is which / The white collar worker or the digger in the ditch / Man, who’s to say who’s the better man / When I’ve always done the best I can. ”
Zombies - Tell Her No
I had almost forgotten about this song until I heard a very early version of the Nervus Rex (their first show) play it, and had an “oh, yeah,” moment. I went out and bought it soon after. The Zombs had bigger hits with the trippy “She’s Not There” and “Time of the Season,” and they are both rightfully standards, but this early Mersey Beat-style release is no less interesting (sort of like Deep Purple and “Hush”). ”
Keith Carradine - I’m Easy
This won the Oscar for best song of the year, and while I don’t always like the winners, this one is just fine. Keith’s trembling voice over the melody is sort of like a bird hugging the wind. His musical career never went much further than the Nashville soundtrack, but it’s still a legacy of which to be proud.
Lucy Simon - From Time to Time to Time
Remembrance of a first, innocent, childhood love is explored with fond memories and smoky imagery that is a smile-raiser. She remembers walking along the beach, holding hands, and that he wasn’t very tall, but mostly that she still thinks of him from…well, the title says it.
Get Wet - Just So Lonely
They were just so close to making it, it’s heartbreaking. Here’s a clip of Sherri lip syncing on some TV show. GW looks at the more pop side of “low-wow-wow-wow-wow-nliness” in their playful style. While I was more fond of their more baroque tunes like the two above, they also had a flair for the “bounce.”
Bob Gibson & Hamilton Camp - Well, Well, Well
The version on my tape is a live cut from the 1965 Newport Folk Festival. Spirituals were big back then, as were duos like Joe & Eddy. Singers Bob and Hamilton (a Canadian who was also a commonly seen actor in the ‘60s and ‘70s on such shows as a classic The Mary Tyler Moore Show and Love, American Style) blend their voices in a warning and sobbing style that both harmonizes and plays off each other in amazing ways.
The Cramps - Bikini Girls With Machine Guns
One of the last great Cramps songs to show off their rhythmic nuances and flair, this is silly, but remains a true vision of their philosophy (“I’ve got my own ideas about the righteous kick / You can keep the reward, I’d just assumed stay sick”) Ivy’s guitar playing here is in top form, as well. For the video, ironically, some of the lyrics had to be changed (“Drag racer on LSD” to “Drag racer from Tennessee,” and “bare-assed on top of the Sphinx” to “bare-backed”), even though images of bestiality (“I even had a gorilla on the slopes of Kismet”) and the message remain.
Iggy Pop and Kate Pierson - Candy
At the start of the song, Iggy states “It’s 1990…it’s been 20 years.” Well, next year will be 40, but I digress. This is based on a true person in Iggy’s life, and the song definitely shows the soft side of a very hard (i.e., muscular) man. Kate Pierson gives a fine turn as the object of the song and showing her non-B-52’s side (as she also did with REM’s “Shinny Happy People”). She goes full out, as does Iggy, with his limited range. Their work together here is what makes the song for me. And, hopefully, her pretty face isn’t going to hell.
Jefferson Airplane - Somebody to Love
While I’m not into much of the Haight-Ashbury experience, the Airplane had a sound that connected with me. Grace Slick has always said that she has a limited range, but she uses it to full force here. While not as subtle as “White Rabbit,” it’s still a signpost for the love generation.
Lyons and Clark - I Thought I Would Try
A one-album group from the mid-‘70s, this sort of fell into my hands when the record company gave me a copy while I was waiting to interview some douchebag, which made the whole experience worth it. I don’t think it will ever be released in CD form, so occasionally I pull this LP out and just play it from cover to cover. This song is one of the cream-on-top-ers of an album of cream. They remind me of the Murmurs, with lush harmonies and meaningful lyrics, which are sentimental, but rarely mushy. Enjoying singing, writing and musicianship, and yet not over produced. A winner that was lost in the mix, for sure.
Harry Chapin - She Sings Her Songs Without Words
Another Chapin love song that is gentle and melodic, something Chapin used rarely, but effectively.
Roy Orbison - It’s Over
The man has a freakish voice, and I mean that in a positive way. This is such a classic, that all I can say is, just listen.
The Cynics - Summer’s Gone
One of the very early songs by this underrated post-garage band from the Pittsburgh area. Before they went a bit harder toned (and still sounding great), there was this period of psychedelic garage sound that was wispy with lots of middle notes and harmonies. Of that period, this remains one of my favorites of the band. Of course, my middle period topper is “Girl, You’re On My Mind,” but that should be obvious.
Cheepskates - Run Better Run
Shaun Flaubert led this garage band from the ‘80s revival period, and the Cheepskates were one of the key figures on the scene. I saw them often on bills with the likes of the Tryfles and the Vipers. “Run Better Run,” again, has a great musical phrase that will stick to you for long after its listening. Nowadays, Shaun works with Dave Rave and Gary Pig Gold, and is still worth checking out.
Elvis Costello - Alison
I was never a big fan of early Costello, actually, though I saw him play MSG with the Replacements opening for him (Hi, Nancy!). “Watching the Detectives” was okay, but this was the only song of his that I liked from first listen. And of all the many versions of it, his remains my favorite.
The Scruffs - When Donna Romances
This Tennessee band never achieved A-level, but this non-LP single gets played more than their album on my turntable. Again, I don’t know if this will ever see CD-hood, but it’s a good pop-in-a-‘70s-underground-vein listen. They’d make a good double bill with the Slickee Boys.
The Seekers - Another You
Another song I first heard as a child in camp. It was on the radio constantly, and then disappeared. I didn’t remember who did it, so I never sought it out. Eventually, I found out it was the Seekers and went out and got it years after the fact, in the mid-‘70s (around the time I discovered the Ramones). From Australia, they had a distinctive folk-based pop sound, elevated by Judith Durham’s soaring vocals. It’s still a beautiful thing to hear.
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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