Review: Wendy O. Williams: Live and Fucking Loud in London!

Text © Robert Barry Francos / FFanzeen, 2022
|Images from the Internet, unless indicated

Wendy O. Williams: Live and Fucking Loud in London!
Directed by Rod Swenson
Trilion Pictures; Sledgehammer Entertainment; MVD Entertainment Group
55 minutes, 1985 / 2022
www.mvdvisual.com

Back in the late 1970s, I saw this relatively new band a couple of times at CBGB, led by Wendy O. Williams (a.k.a. W.O.W.) called the Plasmatics. They were wild, including sawing a guitar in half with a chainsaw while still plugged in (noise reminiscent of Lou Reed’s Metal Machine Music).

Back then, Williams (d. 1998) was known for a lack of clothing that might make Iggy blush, stage presence, and a voice so gravelly you could use it to cover a country road. The Plasmatics were getting quite a name for themselves, and not just from blowing up a car during a show on a Manhattan pier. They broke up in 1983 (they reformed for a moment from 1987 to 1988).

Plasmatics at CBGB (pic by Robert Barry Francos)

After the first demise of the Plasmatics, Williams went on her own journey, including acting (e.g., 1986’s Reform School Girls), and forming a new band – guitar: Michael Ray (who also worked with the Plasmatics); bass: Greg Smith; drums: T.C. Tolliver, including all doing backing vocal duties as well – and toured extensively.

The part of the tour that is represented on this DVD was shot during October 1985, at the Camden Palace in London. Hot off a Grammy nominated album (produced by Gene Simmons of KISS), she moved out of the punk world and into metal, including speed metal on Kommander of Kaos, the album she was promoting on this journey through Europe. This particular show was originally broadcast overseas on Sky TV (I believe it was titled Bump and Grind), and fell into obscurity for years.

At this stage of her career – some might call this her “pinnacle” – she was in top form, both musically and working the stage. Geologist and Plasmatics’ guitarist Richie Stotts may have been gone, but the power trio backing her up were dedicated and in fine form keeping up with her Tasmanian Devil stage antics. To be honest, through the growl in her voice and the speed of the songs, I cannot tell most of the lyrics, but I do not care, it is the performance that matters.

The video was directed by Rod Swanson, which should be no surprise as he managed her career from the beginning, meeting when she was still doing porn (e.g., Debbie Does Hollywood) and live sex shows (fortunately, she got outta da biz before AIDS hit hard). Rather than criticize her, I think this was an important step for her getting used to being mostly unclad on stage when singing. As she once said, “It was just like working in a doughnut shop, except you didn't wear a paper hat”.

Anyway, back to the DVD, the show begins with the blistering guitarwork of bare-chested Ray, and of course it only builds once Williams hits the stage with “Gone Wild.” But it is the second song, “Pedal to the Metal,” where her inner Ramones comes in (right down to DeeDee’s count-off at one point), Williams just blisters. By the third song, she is in total sweat from dancing around on the stage. Considering she was in her late 30s by this point, she goes full tilt out.

The song “You’ll Succeed” sounds more like “You’ll Suck Seed,” reminding me of Johnny Thunders and the Heartbreakers’ “Born to Lose”/”Born Too Loose” double entendre. “Party Tonight” is a killer tune as well.

“Jammin’” is just what it says: Williams goes backstage to wipe off and remove more clothes, and the band jams for longer than I was interested. As talented as this trio is, and they truly are, like most jamming, it is a “show” with little melody but lots of note fingering. This is the main reason I like the simplicity of the Ramones rather than hair bands.

By the time she gets to “Jailbait,” she is joined by the Lemmy (d. 2016) and Wurzel (d. 2011) from Motörhead for just this song (and if you are in NYC, be sure to check out the Motörhead cover band, Motörbrained).

Amusingly, the camera keeps going back to a guy in the front of the audience who has a huge green mohawk and heavily studded leather jacket who seems to watch the show stoically (though occasionally doing a head bop), not even joining in for the chant-along of “Bump and Grind.” Also, during this song, Williams goes back to form and sledgehammers a television. Like comedian Gallagher (d. 2022) and his watermelon, well, you just have to come to expect that. But Ray playing while sitting on Williams’ shoulders is a nice touch.

Pyrotechnics are used intermittently throughout the show, though not to KISS level, but more appropriate to the venue. It’s all fun, and it smokes up the stage for “Fuck That Booty,” which I thought was the weakest song of the show, though Ray gets to show off once again.

During the last song, “Fuck’n’Roll,” a killer number, I thought about the difference between Plasmatics Williams and this show: for this, she uses way less props, even with the TV smashing. I remember her holding up signs. And while she is still sensual as hell, she no longer rubs her crotch often nor goes topless with electrical tape Xs over her nipples. But it is good to see her chainsaw a guitar again, as she finishes off the show. I always wondered what guitar mavens like Binky Phillips and Tom Guerra thought about that practice. One other difference is that Wendy seems even more comfortable and confident as a singer on stage.

The DVD’s visuals and sound are crisp and clear, most likely shot on the superior European PAL technology. This is a hard rockiin’ set with some punk elements, but Ray’s guitar makes it solid hair metal with a hard edge. Miss ya, Wendy O.

Set List:
Gone Wild
Pedal to the Metal
You’ll Succeed
No Class
Party (Tonight)
Jammin’
Hoy Hey (Live to Rock)
Jailbait
Ain’t None of Your Business
Bump and Grind
Fuck That Booty
Fuck’n’Roll

RBF’s Eclectic Excitement Playlist – August 2022

 RBF’s Eclectic Excitement Playlist – August 2022

Text © Robert Barry Francos / FFanzeen, 2022
Images from the Internet

Here is my limited monthly column of some relatively cult music, be it due to initial limited release, or just having fallen out of the mainstream eye. These will be of a multitude of genres, from punk to folk, to just out there.

The songs are listed alphabetically by first letter of the artist or group, and not in a “ratings” order. Art is subjective, so I hope you like these as much as I enjoy them.

Note: There is no advertising on this page, so I will not be making anything off the work of others.

AgesandAges
“No Nostalgia”
Knitting Factory
What is noteworthy about this ensemble, of course, is the harmony that brings out the rhythms as well. Even the solos are interesting if occasionally breathy. I like this live rendition as much as the original studio recording.

Cherie and Marie Currie
“Since You’ve Been Gone”
Capitol  Records / Renaissance Records
After leaving The Runaways (who I saw her play with at CBGB), lead vocalist Cherie went on to her own solo career, highlighted by this gem featuring her twin sister. Though they look alike, it’s easy to tell which is which by the way they dance. Cherie has some very distinctive splits. This song actually charted in the US Top 100, but faded as fast as it came.

Chris Stamey
“Summer Sun”
Ork Records
Known for his work with Alex Chilton and the dBs, this solo release (produced by Chilton) is a sublime slice of love on a hot afternoon in a pop format. Stamey’s voice is perfect for what he is trying to say. I’m surprised this did not become bigger. I once spent a fun afternoon hanging out with Stamey and Chilton while they were being interviewed for another fanzine. 

Cycle Sluts From Hell
“I Wish You Were a Beer”
Epic Records
A tongue-in-cheek metal cult classic, this is off the band’s only album. It’s co-writer, Honey 1%-er, would go on to the She Wolves as Donna She Wolf, and then Star & Dagger. I interviewed her more than once. The song is wild, ridiculous, and incredibly catchy. The whole “Singing in the Rain” part is a distraction, but the rest is gawdy good.

The Diodes
“Tired of Waking Up Tired”
Bongo Beat Records
This group is part of the Toronto First Wave punk movement, and occasionally still tour. Their other songs include the hook-laden “Child Star” about the death of Anissa Jones, and a cover of the Cyrcle’s “Red Rubber Ball.” But this live version of their song is, for me, my fave version.

John Watts
“URSo”
SoReal Records
The story I heard is that the song was originally supposed to be “You Asshole,” but Watt’s daughter suggested the change to make it more marketable. I agree. John is the lead of the British group Fischer-Z, as well as having a solo career. I had the opportunity to introduce him at a General Semantics conference where he performed. John’s voice is deep, and the regret of the song permeates the message.

Jonathan Richman and the Modern Lovers
“The New Teller”
Beserkley Records
Yes, I know Richman is an indie artist icon, and many of his songs, such as “Roadrunner” and “Abominable Snowman in the Market” are must haves. His appearance in the film There’s Something About Mary (1998) solidified his role as cult. I’ve seen him live at last four times since 1977 through 2018. However, this song is different as it wasn’t on any of his releases, but rather a compilation album called Beserkley Chartbusters Vol. 1. It remains my fave of his songs.

Psycotic Pineapple
“Hang on for Your Life”
Richmond Records
A song about driving that you should never listen to while driving, because odds are you’ll be speeding by the end. The vocals are unique and the song is hilarious. But it should be noted that all their songs off their album are worth a listen, such as “I Wanna Wanna Wanna Wanna Get Rid of You,” “I Forgot Who I Forgot Who I Was,” and the deadpan “Headcheese,” which is another favorite. The whole LP is spectacular in their quirky way.

Rachel Harrington
“Summer’s Gone”
Skinny Dennis Records
Americana music, a branch of Bluegrass, can be perky as hell, or hauntingly beautiful in gothic tones and themes. This falls into the latter. The banjo is striking in its slow pace as the ballad tells the story of the rains after the harvest, and a mystery of a family. It has stuck with me from the first time I heard it.

X-Teens
“Change Gotta Come”
Dolphin Records
Hailing from the DC area, this is a pop rock band with some punk attitude. The chorus is catchy as fire, amid the topic of the possibility of the end of the world. Note that, in my opinion, the video is too much, so you may want to forward to the actual song at 1:30. And maybe you will be able to answer the question, “Whatever happened to the Love Generation”?

RBF’s Eclectic Excitement Playlist – July 2022

RBF’s Eclectic Excitement Playlist – July 2022

Text © Robert Barry Francos / FFanzeen, 2022
Images from the Internet

Podcast radio is the big thing, I know that. But I am more interested in listening to the obscure music arena than prattling on about it, despite my brief comments. So, here is my limited monthly column of some shamefully cult releases, be it due to initial limited release, or just having fallen out of the mainstream eye. These will be of a multitude of genres, from punk to folk, to just out there. 

The songs are listed alphabetical by first letter of the artist or group, and not listed in a “ratings” order. Art is subjective, so I hope you like these as much as I enjoy them.

Note: There is no advertising on this page, so I will not be making anything off the work of others.

 The Allen Ward Trio
“I Need a Friend”
This folk group came to me at a used furniture/record shop in Kingston, Ontario. Though this Canadian release is obscure, it seems to have a strong cult following. The entire album is an interesting mix of folk classics with some unique arrangements without losing its folk sensibilities, and some new material, such as this one.

 The Cynics
“Girl, You’re On My Mind”
Covering a Mystic Eyes/Bernie Kugel penned song, this garage-tinged group of rockers from the Pittsburgh area add some fuel to their sound here. An extremely fun live band, they are still active so see ‘em if they come to your town.

 

Harry Chapin
“Sniper”
This is the song that hooked me onto Harry Chapin, who I saw live a half dozen times, even singing on stage with him one night. This is not just a tune, this is a sociological study of Charles Whitman, the first mass sniper shooter in Texas in the 1960s, that includes criticisms of loneliness, insanity, and mass media manipulation. All these years later, I am always struck by its strength and perception.

 

Haysi Fantayzee
“Shiny Shiny”
With a fashion sense that was allegedly lifted by Boy George, this British threesome never clicked in the US, despite a couple of hits on their own turf. While not a style that enraptured me, generally, this song reached me in places Culture Club never did.

 

Lenny Kaye Connection
“I've Got a Right”
This song was originally geared towards the Ronnie Reagan period of introducing the Silent Majority into the government, but with the fruition of that movement, the song has now become more relevant than ever. Lenny is better known for his early single, “Crazy Like a Fox” (as Link Cromwell), but his solo period while Patti raised her kids produced an excellent album on which this is the opening cut.

 

Louis Armstrong and His Orchestra (featuring JC Higginbotham)
“St. Louis Blues”
There are so many versions of this 1929 standard, even by Armstrong, but I grew up hearing this raver on a Swing compilation owned by my mother. The exchange between brass mavens Armstrong and Higginbotham is jaw-dropping considering the notes they reached in their prime.

 

Mystic Eyes
“My Time to Leave”
Hailing from Buffalo, this group presents a pop garage sound that mixed Jonathan Richman with the Invictas. This may be a break-up song, but the upbeat rhythms and smart lyrics are exceptionally catchy.

 

Nervus Rex
“Don’t Look”
This was a major label release that didn’t really go anywhere, sadly. I was the first person to interview the band who played at CBGB and Max’s Kansas City.

 

Rachel Lynch and the Daydrinkers
“Wrecked”
I first heard this song on the soundtrack of a film adaptation of Lady Usher, based on EA Poe’s story. It very quickly grew on me.

 

Ronnie and the Jitters
“She’s Not the Girl For Me/Rockaway”
Infamously, they played the last weekend that Max’s Kansas City was open. I co-interviewed  the band with Stacy Mantel, who introduced me to their rockabilly infused rock. A band that should have made it. All really nice guys, by the way.

Singles/Video Reviews: February 2021

Text © Robert Barry Francos / FFanzeen, 2021
Images from the Internet

Singles/Video Reviews: February 2021
Note that these reviews are alphabetical, not listed in a “ratings” order.

Anya Marina

“Notice Me (Live from Rockwood, NYC)”
www.anyamarina.com
This is off her sixth album, Alive and Alone in New York, which was recorded at the great Rockwood Music Hall on the Lower East Side, which has sort of become the CBGBs of singer-songwriters (with cleaner bathrooms). “Notice Me” is one of her signature songs, and on the original album, it is produced with a wall of sound that accentuates the mood with overdubs, and a much larger group behind her. For this recording, it’s just her and her guitar, and feels way more personal. With a chantable “do-do-do” chorus, it can easily be a pleasurable ear worm as she feels neglected by her lover. It’s a bit of an upbeat song and doesn’t actually feel as desperate as the topic sounds. It’s coyer and sexier, with a hint of frustration, with Anya’s lovely falsetto voice playfully calling out. The album has 17 tracks covering her career, and this is the first single. You can find the original version on YouTube if you’d like to compare.
Can be heard HERE 

 

Ben Howard
“What a Day”
Republic Records
From the upcoming album, Collections from the Whiteout, Ben’s fourth full release is a “pastoral” sound as the singer reminisces about where the time goes. It’s a nice, light sounding ballad that has some deep thoughts imbued with a mild, melody backed up by what sounds like a drum machine (though I could be wrong). The production is high, but it doesn’t necessarily overwhelm here. It’s also pretty catchy, which is always a good thing. His British inflection is also endearing. The video seems almost straight out of a Monty Python sketch, with a bit more seriousness. I might actually go listen to the album, at some point.
Can be heard HERE 

 

Carla Geneve
“Dog Eared”
Dot Dash; Remote Control Records
Australian 22-year-old music teacher hits the pop rock trail on her solo album, Learn to Like It. Filled with encouraging girl power – as one can see in the song’s video – Carla has a strong voice and belts out on choruses, hovering the line between alt pop and rock. Dealing with finding self-worth because she “always feel so useless,” but acknowledges she “still has something to lose,” meaning there is some possibility of positivity. It’s a really good song, the production is tight without being overbearing, and it’s lyrically smart. The road trip video filled with her friends is cheerful, as is, on some level, the song, as she pulls herself up. Liked this one a lot.
Can be heard HERE 

 

The Cavemen
“Am I a Monster”
Pig Baby Records
Thematically, what if the early Cramps had been a hardcore band instead of voodoobilly? That is one way to look at New Zealand “ghoul punks,” The Cavemen. The song is a three-chord mosh fest with a horror motif. While I heard the recording rather than seeing a video, I have seen picture of them, and they seem quite energetic, which is definitely present in their music that seems highly influenced by the early 1980s H/C and garage scenes. The melody of the song is certainly catchy, though it’s hard to tell what they’re saying much beyond the chorus, which is the song’s title, and a few snippets here and there about loneliness, due to a garage-rock level of vocal fuzz. This definitely harkens back to a minimalist period, pre-extended guitar solos by the likes of Ginn and Mascis, but that’s okay with me; there is a brief and raucous burst, though. A Ramones-ish slagging of basic chords and speed is just what I like. These guys sound like they’re a lot of fun, and this one will get some more listens by me over time.
Can be heard HERE 

Elise Davis
“Yellow Bed”
Tone Tree
Nashville singer-songwriter Davis released her single, “Yellow Bed,” from her third album Anxious, Happy, Chill. I have seen a few of her videos performing live in her bedroom or on stage, and she is really amazing. Her songs are poignant, such as this one about relishing time with her husband. That being said, I had a bit of trouble with this song, recorded in a studio. The sound is very flat and electronic, including the processing of her voice via reverb, which makes it lose its beautiful tone, giving it a kind of impersonal feel when the song should be emotional. I hate saying this since I like her and I enjoy her voice, but it is the production here that squashes her sound. I believe if I saw her do this live, I would enjoy it a lot more. I say go seek her out, find her videos and enjoy. This is the only song off the album I have heard and I’m hoping the rest of it is more loyal to what she has to offer.
Can be heard HERE 

 

Half Waif
“Orange Blossoms”
Anti- Records
The first single by Half Waif – aka Nandi Rose – is quite lovely, albeit sad. As described by her press, it is “a desperate plea to be rescued from wrestling with everything.” In a voice perfectly suited for the song, the protagonist is in urgent need for help kick-starting her life at the moment, asking repeatedly for “someone” to do things like answer an email, or “make me think I’m worth something.” Thematically, it reminds me of The Allen-Ward Trio’s “I Need a Friend,” but rather than folk, this is more modern singer-songwriter. Yes, she’s listed as alt pop, but I would not personally put this song in this category. There is some lovely harmonies snuck in, backed by an electric piano in the forefront. It’s a powerful, lovely tune and is both bleak and, at the end, hopeful. It’s a keeper.
Can be heard HERE 

 

Lost Horizons, featuring Marissa Nadler
“Marie”
www.bellaunion.com
www.losthorizonsmusic.com
Lost Horizons is the collaboration, among others, of Simon Raymonde (Cocteau Twins) and Richie Thomas (Dif Juz), and this single is included in their new album, In Quiet Moments, Part 2. They are joined by Marissa Nadler to front it (other songs on the double album are voiced by different singers). As one might expect from Raymonde and Thomas, the song is strongly studio-enhanced, moody and I might add gothic. The shadowy reverb is ramped up and it almost sounds like a ghost is singing it. Nadler has a good voice, somewhere in there, and I would have liked to have actually heard it clearer through the production. The song itself is a quiet, slow, and soft footed ballad, reminiscent of XTC’s “Somnambulist.” After a couple of listens, it is starting to grow on me, more for Nadler, honestly. Because of the production, I couldn’t make out much of the lyrics; however, it sounds melancholic.
Can be heard HERE 

 

Thee Sacred Souls
“It’s Our Love”
Daptone Records; Penrose Records
Hailing from the San Diego area, this soul trio (perhaps they could have called themselves “Three” Sacred Souls?) fit somewhere in the post-Motown category with the likes of the Ohio Players (sans horns) and Al Green. Vocalist and lyricist Josh Lane uses his falsetto voice to lull the listener about his love in a Barry White ballad speed. Soul is not my forte, honestly, but I was charmed by the sound here, as Sal Samano and Alex Garcia skillfully back him up with their rhythms (guitar and drums). The video is quite simple, as is the tune, mostly shot with the band in the studio.
Can be heard HERE 

 

Yonaka
 “Seize the Power”
https://www.facebook.com/weareYONAKA/
This track is listed as “Dark Alt Pop with Heavy Riffs” on their Facebook page. That feels accurate. It’s definitely modern, with heavy production and added with some pop fusion. It’s like if Lady Gaga’s style was thrown in a blender with some electronica and white rap, fed through some anger and entitlement. It’s decent, as even the rappish parts aren’t too stereotypically done. The positive behind it is its power, as Theresa Jarvis forcefully infuses her lyrics with drive, almost yelling above the British band’s studio-infused minimalist melody.
Can be heard HERE 

 

Zadar
“Upstairs Room”
https://zadars.bandcamp.com/
Not to be confused with the Yiddish “Zaydeh,” nor the city in Croatia, their publicity calls them “scathing post punk [sic] from Philadelphia,” sounding like Sisters of Mercy. Really? This song is essentially based on a dissonant B-52s-type rhythm played electronically over an over, with Fred Schneider-style vocals without the charm. Even the lyrics are repetitive and kind of monotonously mundane. I’m not a fan. But then again, I was bored by Sisters of Mercy, as well.
Can be heard HERE 

Music Reviews: January 2021

Text © Robert Barry Francos / FFanzeen, 2021
Images from the Internet

Music Reviews: January 2021
Note that these reviews are alphabetical, not listed in a “ratings” order.

 

Ben Sutin Quartet
Hard Bop Hanukkah: Live @ Rockwood Music Hall
www.MEIIenterprises.com
www.bensutinmusic.com
Hard bop, a subgenre of bop jazz, was fomented by the likes of Miles Davis and Coltrane. It is wild and a bit musically asymmetrical, relying more on sharps/flats and a tempo of its own and often changing nature. The opening of the six cuts, “Have a Little Dreidel,” shows exactly what is expected right off the – er – spin. Ben Sutin, who leads the Quartet, is the arranger and violinist, who tends to play at the high end of the instrument. He is met evenly by Sam Javitch’s piano. They are backed by Cole Davis on bass and Evan Sherman’s drums. But it is the violin and piano that are out front on this live recording in one of my favorite spaces to hear non-punk/rock music in New York, Rockwood Music Hall, down on the LES of NYC. The third song, “Neroit Dolkim,” has the bones of Klezmer (which I thoroughly enjoy). Sutin’s modified V-necked electric violin gives him access to the very high ends of the strings, while Javitch uses his piano for both melody and part of the rhythm section simultaneously. “Sevivon, Sov, Sov, Sov” (translated as “Dreidel, Spin, Spin, Spin), the longest cut on the release, gives the rhythm section a chance to solo in smatterings. This may sound blasphemous, but parts of “Maoz Tzur” (or “Ma’oz Tzur” aka “Strong Rock”), from the 13th Century, sounds like it could be off Vince Guaraldi’s Charlie Brown Christmas album (I am saying that in a positive way, as that is the only Xmas record I can tolerate). The musicianship is superb, as would have to be to play in this style, and the Quartet go full force. As with many jazz styles, the songs are all instrumentals, and tend to average around 6 minutes, but they do both swing and bop. Might be good to get this now and have it ready for the next time Hanukkah rolls around.

Cro-Mags
2020
Mission Two Entertainment
The Cro-Mags are to hardcore what the Ramones were to the first wave of punk. These New Yorkers blazed a trail that was picked up by a disenfranchised youth into a movement of fury, anger, and moshing. In fact, Cro-Mags founder Harley Flanagan was the first mosher I ever saw when he was still with the Stimulators in the early 1980s, at a Siouxsie and the Banshees show at Irving Plaza. The Cro-Mags called it quit for a few decades, and now have come back with the second release this year, in this six-song opus that lasts, yep, 20 minutes and 20 seconds. Needless to say, it covers the topics of the year, including COVID-19 and street rioting. Starting off strong, the band wails with “Quarantine,” which leads pretty strongly with Garry “G-Man” Sullivan on bass, and Rocky George on Greg Ginn/J. Mascis-ish lead shred guitar (note that George used to be with Suicidal Tendencies). As with the rest of the songs – “2020,” “Life on Earth,” “Violence and Destruction,” “Chaos in the Streets,” and the instrumental “Confusion,” there is an atonal element that pounds and works, even with the chant-worthy choruses such as with “Life on Earth.” There’s even a bit of New Agey reverb used on occasion, such as the beginning of “Violence and Destruction,” before it descends into hardcore madness.  Despite the screechy, amazing guitarwork by George, parring with Gabby Abularach on rhythm, the songs are more rhythm focused on top of almost No Wave-inspired hardcore with Flanagan (bass) giving some thrash metal growl lyrics. Honestly, without a lyric sheet, I couldn’t make out what they were saying, but the songs stand up, especially “Chaos in the Street,” which is more traditional hardcore, and is by far my fave here. It concludes with a bit of just a part of an in-studio freestyle jam. The Cro-Mags have not lost their edge and deserve a listen.

 

Jordan Rabinowitz
A Couple Songs
@jordanrabinowitz
For years, Rochester, NY native/Washington, DC-based Rabinowitz has bounced around the music scene playing bass with other groups before settling down and working on his own material. He has now released a five song EP (available on YouTube HERE).  His songs feel like light, singer-songwriter style, but actually are kind of dark, talking about break-ups, love ending, and leaving. Jordan’s voice is pleasant without being same-old-same-old, with a hint of pitchiness that works for him. Note that the songs are fully backed by a band in which sometimes the feel of the song gets a bit mired in a way that would not happen if he were a solo-performer, but that’s the nature of the beast in today’s studio-produced world. It’s a good listen, though, and for a debut record, the songs are well written and performed.

 

Rockower
It’s Alright But It’s Never Enough
Mark Rockower Music
Great name for the band; fortunate that the center of it has this appellation. Mark Rockower is on vox, guitar and synthesizer (and songwriting), Derek Hughes plays bass, backed mostly by Jax Bowers on drums. But essentially, this is a two-man outfit, even recording it in Hughes studio (garage? basement?). This harmonious (i.e., overdubs of Rockower’s vocals) almost pop rock has all the hallmark sounds of a demo. Now, to be fair, a demo sound is so much more preferred by us aficionados than the cold, overproduced music mostly found on the radio today. It reminds me of the likes of The Nerves (who originally sang “Hanging on the Telephone”). The amateurishness (of the sound, not the playing ability) is refreshing and enjoyable, starting right off with the upbeat “American Dope.” Each song going forward is a bit different, but the overdubbing is pretty consistent, though I believe it should be used more sparingly, such as on choruses; overdubbing vocals also make it harder to hear the lyrics. “The Other Side” sounds a bit more garage from the late ‘60s, or possibly less formulaic than the early ‘80s. As the CD plays on, it definitely grew on me more. Sure, “Simple Minds” is a bit of filler, but they make up for it with the very next up-beat poppy number, “Lunar Star.” For a miss, like “Vacation Girl,” a synth noise mess, there are others that are worth the listen, like (again) the following cut, “Driving Force” and the title number, which closes out the 10-song disc. Basically, the entire zeitgeist is about American culture in the here and now, which makes it an interesting timepiece. I definitely liked it more on the second listen.  Weirdly, the biggest mistake is not printing the name of the band or CD on the disc proper, rather than just an image. Good way to get the disc lost.

 

TASTE
Brothers Vol 1
Melodicrock Records
Taste-music.com
TASTE is a “legendary” rock group from Down Under which originally formed in the 1970s, but I am not sure I have ever heard of them before, as this kind of ‘70s rock (they are often compared to the likes of Queen and 10cc) that never held my attention. But this is a new 5-song EP. It starts off with a kiss-off to a “horrible year” with “2020’s Gone.” It’s a power ballad celebrating the coming of a new year and hopefully new – err – hope. The production level is high, but it has a catchy and flamboyant chorus. Its follow-up “Hello Hello” is almost more rock power pop, which feels stuck in the ‘70s reminding me more of REO Speedwagon than Queen. Lots of harmonies, especially on the choruses. Ken Murdoch’s vocals are not traditionally rock tenor-and-above rock screeching, but rather it’s quite pleasant. He is well backed by Joey Armenta on guitar, Michael Tortoni on bass, and Damian Corniola on drums. “(We All) Stand Up” is a ballad paced bit of a corny and cliché rock with lyrics that are a bit insipid; what would at one time may be called “filler.” It’s follow-ups are live (or live in studio) versions of their previous songs, “Rock is Dead”  and “I Don’t Wanna Be Like You,” which are a bit better as rockers with the band getting to exercise a bit more of its instrumental prowess (including an extended drum solo on “Rock,” and clocking in at over six minutes). “I Don’t,” which is more guitar-focused, has an Aerosmith feel during their prime. Note that all proceeds go to benefit Beyond Blue, to help those affected by anxiety, depression, and suicide. A noble cause, indeed.

 

Book Review: Lost Rockers, by Steven Blush (etc.)

Text © Robert Barry Francos / FFanzeen, 2017

Live images by Robert Barry Francos

Book cover image from Internet

Lost Rockers: Broken Dreams and Crashed Careers

By Steven Blush, with Paul Rachman and Tony Mann
powerHouse Books (Brooklyn, NY), 2016
160 pages (hardcover); USD $15.00
ISBN: 978-1-576-87766-1
www.powerhousebooks.com

If the name Steven Blush sounds familiar, I’m guessing it is due to his previous seminal book, American Hardcore. Presently, he is assisted by Paul Rachman, who directed the 2006 documentary based on that first book, and by Tony Mann. who has drummed with just about everyone in the New York scene.

Tony Mann

Anyway, the book looks at some might-have-beens in the music biz in the past few decades, essentially some who had a touch of major stardom, coming thisclose, but who had it evaporate into the clear blue, be it through wrong timing, sometimes by the fault of third parties such as record companies, bitter rivalries, or occasionally by shooting themselves in the foot by the likes of ego or substance abuse.

While I’m not amazed that there are quite a few I have never heard of before this, I am even more stunned at how many I have seen in both their heydays and beyond. I will indicate those I have watched perform with a [*].

If you’ve been around any music scene for a while, you must know some bands that deserved the break and never got it. Off the top of my head, I think of the Marbles and the original formation of the Shirts, and of course the Dictators from New York, Willie Loco Alexander in Boston, the Jumpers from Buffalo, and I would even add in the Cramps to that list. Most of them were signed to major labels at some point, or on the verge of it, and then it all just went away.

There are 20 musicians (rather than bands) covered here. Some had relatively major hits, such as the opening article subject, Evie Sands, who was the first to record the classic Chip Taylor tune “Angel of the Morning.” Then there’s Robert Fleischmann, the original singer for Journey and Vinnie Vincent Invasion. Marc Bolan’s common-law wife and baby mama Gloria Jones is here, her career evaporating when the car she was driving crashed, which ended Bolan’s life.

Corpse Grinders

But not everyone has star turns, though should have, such as Gass Wild [*], who helped form the Pretenders, though I saw him in a version of the Love Pirates at Otto’s Shrunken Head in the early 2000s. I met him through the band The She Wolves, whose drummer was Tony Mann. Rick Rivets [*] was in a couple of bands I saw in the early New York scene days, the Brats and Corpse Grinders.

One of the people here who is not just famous but also a bit infamous is Cherry Vanilla [*], an ex-groupie who helped Bowie and MainMan conquer the States. She was at the forefront of the Max’s scene, and I saw her on a stunning bill with the Fast and (then) Wayne County in late ’76 or early ‘77. Some of her band members back then would be part of the core of Get Wet, another deserving band that almost broke and could be included in a sequel.

Cherry Vanilla

An interesting inclusion is Chris Robison [*], who was sort of an early sexually fluid musician who flowed between men and women (similar to Bowie and Lou Reed). As well as a solo act, he was associated with the touring band Steam (“Na Na Hey Hey [Goodbye]”). Also, he played with Elephant’s Memory (he may have been in the band when I saw them at Prospect Park with Brownsville Station opening) and the local New York group Stumblebunny (they opened for Peter Tork at CBGBs in ‘77, but I have no memory of the band).

Marge Raymond in Flame

One of the rockers in the ‘70s I really enjoyed was Flame, fronted by Marge Raymond [*], who is represented here. I saw the band play at Zappaz in Brooklyn in 1977. She’s in a ‘50s/’60s cover band now. Which brings me to a point: Marge seems pretty happy now, and who knows if “success” would have made an end-total betterment or crashing of a lived life. I mean, do you get the feeling that someone like, say, Axl Rose or Alan Price or Tommy Lee are actually happy in their relative career success?

Yes, there are certainly some depressing tales here, such as with Bobby Jameson [d. 2015], whose life has been street hardcore after the near-fame, but for most here, there is still wishin’ and hopin’ and thinkin’ and prayin’ going on, and some positive thoughts. Most are still making music on their own terms and through the book we learn that they deserve our respect.

Most of the pieces tend to run a couple of pages, though a few are nicely quite lengthy. There are also lots of photos, of which the “now” pictures particularly interested me; for example, Cherry Vanilla has not lost her zing at all.

Blush, who conducted all the interviews himself, does a fine job of keeping the interest of the reader. I found that even with those of whom I was unfamiliar, my curiosity was kept whetted and I read the articles through. At first I wished there was a disk of some of the music included, but then I remembered YouTube, so I could check to see what some of the recordings were like (especially check out Flame’s “Beg Me” and Cherry Vanilla’s “The Punk,’ but I digress…).

As a side note, I found it interesting that producer Jimmy Iovine makes more than one appearance as being a hindrance (personally, I find a lot of his stuff overproduced and clinical, but that’s for another day). The only real issue I had with the writing itself was the overuse of the term “left high and dry,” but that’s just the nitpicking hell that my brain does. Point is, if the repetition of that phrase is the worst I can come up with, well, that’s saying a lot in favor of release.

This is not the first book to be written about cult artists who never broke the big time. For two examples, there are Jake Austen’s Flying Saucers Rock’n’Roll: Conversations with Unjustly Obscure Rock’n’Soul Eccentrics (reviewed by me HERE) and Unknown Legends of Rock’n’Roll: Psychedelic Unknowns, Mad Geniuses, Punk Pioneers, Lo-Fi Mavericks & More. Each one has its own take on the lives and output of the musicians under the microscope.

While Blush takes a deep look at some of the artists, he does not analyze the music, and I feel the book is the better for it. He doesn’t talk down to the reading audience, which also makes sense, because the person who has the book in-hand most likely has a history of following music to some extent, and probably will have some knowledge of at least some of those discussed.

The name of the book is a slight misnomer, I’m happy to say, because it is not only rock that is covered, as there is both soul and folk included in the batch. Still, I would not change the title.

I’m pleased to know that as with American Hardcore, a documentary film version of this book is in post-production by Rachman. As much as I enjoyed reading this, I am also looking forward to the film. While there probably will be music in the documentary, this book is still essential, and certainly worth the read.

As a brief post-note, Blush actually has a new book out since this once came out last year, titled New York Rock: From the Rise of the Velvet Underground to the Fall of CBGB. I'm hoping to get the chance to check that one out, as well! 

Musician subjects in book:

Evie Sands

Alan Merrill

Chris Robison

Ginger Bianco

Brett Smiley

Betty Davis

Pat Briggs

Bobby Jameson

Rick Fox

Charlie Farren

Gloria Jones

Chris Darrow

Gass Wild & Johnny Hodge

Rick Rivets

Cherry Vanilla

Robert Fleischman

Kenny Young

Marge Raymond

Jake Holmes