Text by Robert Barry Francos
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]
* Monkees Reunion, Jones Beach Theater, Jul 17, 1986 (14.75) [No Mike]
* 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!
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Showing posts with label Dictators. Show all posts
Showing posts with label Dictators. Show all posts
Saturday, December 25, 2010
Monday, December 13, 2010
A 1970s New York Punk Rock Primer
Text © copyright Robert Barry Francos
Images from the Internet
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.
Images from the Internet
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.
Thursday, April 22, 2010
Ode to a Mixed Tape – "2003"
Text © Robert Barry Francos
Images from the Internet
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 and Shane Salek are 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
Bonus videos:
Images from the Internet
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 and Shane Salek are 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
Bonus videos:
Monday, March 15, 2010
Ode to a Mixed Tape – Nova Scotia, Fall 2003
Text © Robert Barry Francos
Images from the Internet
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
Images from the Internet
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
Saturday, January 23, 2010
DICTATORS Can Sing!!: Two early pieces on the DFFD band
Part I text by Todd Abramson; Part II text by Barry Geiger; with new intro by Robert Barry Francos
Live images by RBF; album covers from the Internet
Article © 1977; interview © 1980; RBF intro © 2010, all by FFanzeen
[Handsome Dick Manitoba, Ross the Boss Funicello]
Here is a two-for-one deal. FFanzeen published two pieces on the Dictators, the first in issue #3 in 1977 by Todd Abramson (who went on to publish his own fanzine, Young Fast and Scientific, and now co-owns the legendary Hoboken showcase Maxwell’s. The second is an interview at the Bottom Line by Barry Geiger, from issue #6 in 1980.
I was introduced to the Dictators by Bernie Kugel, first in vinyl, and then in person, when we saw them play at CBGB’s in 1975 (before Handsome Dick Manitoba was officially the lead singer). Over the years, I saw them a number of times, and they never, ever failed me, including the Bottom Line show where I almost killed Handsome Dick (see my previous blog from January 12, 2009). When a younger friend came over to my place duing the early ‘80s, I played him the first Dictators release, Go Girl Crazy, to which he was not impressed. I told him to give it time, and put it to a cassette. Before long, he was a huge fan, and bought all their albums (and quite generously bought me their last one). Indeed, I believe in their fan club slogan, DFFD (Dictators Forever Forever Dictators). – RBF, 2010
Part I: Dictators Can Sing!!
By Todd Abramson; FFanzeen #3, 1977
So I got a frantic call from a Dictators maniac (like myself) saying they were gonna be playing at CBGB’s unannounced the following Saturday. Wow! Of course, I’m gonna go. So, in the middle of the week, I make a phone call to one of the ‘Tators themselves and he says sure, come on down, we’ll be playing at one, now leave me alone. I’m watching the Ali fight (or words to that effect). Great!
Naturally, I assumed he meant one in the morning. However, I called Miriam Linna (aforementioned Dictators fanatic) who told me Manitoba told her it’s gonna be one in the afternoon. Fantastic! A matinee performance of my fave band.
So I’m in N.Y. by noon. After listening to a few records, our motley crew heads down to CBGB’s. Hmmm, that’s strange – nobody else here? So we were laughed at and told it was at night. Well, it’s better than nothing at all.
So, eventually night comes along (as I knew it would) and it finds us listening to WCBS-FM’s usually great Saturday Night Sock Hop. Great it was that night. I’ll never forget the way they played “Surf City” and “C’mon Everybody” back-to-back. Or, “I’m so Young,” by the Students, a Billy Miller request.
Pretty soon it gets to 11 o’clock or so, and excitement is building among our gathering. So what else to do but start blasting and dancing to my all-time favorite LP, the Dictators Go Girl Crazy. Stupendous! Uh, weekend.
And the time comes and our procession heads down to the hole in the wall known as CBGB’s. Some of us paid, some didn’t (I did. Ouch!).
The Senders soon go on and play an interesting set of R’n’B-influenced rock. The highlight was a fab version of “I’m a Hog For You,” a Leiber-Stoller classic. They also did a fine version of Jimmy Reed’s “Bright Lights Big City” and a non-descript (I don’t know what it really means but it looks good, eh?) “Yakety Yak.”
Dictators are spotted, with shorter hair, Hawaiian shirts, finger fungus, and other such things. Talking w/ Adny Shernoff earlier he told me they were gonna do “Slow Death,” so I was excited as hell. Plus Mark “The Animal” Mendoza was no longer a member of the band, so Adny would be playing bass again.
Here they come… walking to the stage… get the funniest looks from, oh enuff of that. Handsome Dick dedicated the show to “his champion” Muhammad Ali. Back to Africa! Anyway, the Dictators start playing a new song destined to be on their third long-playing opus, Bloodbrothers.
Well, from the third song on, that night the Dictators were the best band I’ve ever witnessed in my life. Unbelievable! I had just seen them a month or so before at CBGB’s Theatre. To be fair, everything about the place and what happened with the groups before the ‘Tators were on was dreadful, but while the ‘Tators were definitely good, they just didn’t move me. Which was a shame. They even did stuff like “Cars and Girls,” but the magic wasn’t there.
But this night was something different entirely. It was more than magic, I can’t even explain it. Adny had told me that these were the “best, loudest, fastest, teenagiest” songs he’d ever written and yes, the new LP would be even better than the first LP. But that was just too far out, I mean, I thought how could ANYTHING be better than the first LP (that made a man outta me, by the way)? But it’s fucking true! Just check out some of these new songs. One’s called “Let’s Twist,” which you can tell how great it is by the title, but it’s even greater than that! Another song, “Minnesota Strip,” is even greater!!!
And yes, they did do “Slow Death.” And if the Flamin’ Groovies could do it better, then everybody else might as well stop making music. I mean I don’t think any band could ever be better than the ‘Tators that night. They did “Search and Destroy” great, but I sorta wish they’d drop it. I mean, let’s face it, it’s a great song and nobody’s gonna top the original.
So it was a night I’ll never forget. The ‘Tators themselves couldn’t believe it. The Handsome One said he was tired after the second song. No, not ‘cause he’s a wimp (how dare anyone even think that) but ‘cause all the songs were so fucking fast. Not mindless fast like the Ramones (who I really like but are no Dictators) or someone, but teenage, cars, girls, surfin’ beer, high school, McDonald’s Cheeseburgers fast. Go Manitoba, Go! ‘Cause that night and hopefully forever onward, the Dictators were the masters of the teenage race and everything it stood for.
[Scott Kempner, HD Manitoba, Ross the Boss]
Part II: The Last Big Thing: The Very Last Dictators Interview
By Barry Geiger; FFanzeen #6, 1980
It seemed as though the rock press had decided to ignore the Dictator’s break-up as much as possible. Sure, all the magazines had managed to squeeze in a paragraph or so, reporting on the split, but nobody had given the Dictators the proper requiem they so greatly deserved. They were not just another rock’n’roll band – they were the ultimate rock’n’roll band.
Their 1975 album, The Dictators Go Girl Crazy, was classic rock’n’roll. It’s follow-up, 1977’s Manifest Destiny, though more sedated that Go Girl Crazy, was nevertheless a fine effort. 1978’s Bloodbrothers could have been the ‘Tators breakthrough album had Elektra/Asylum given it the proper promotion. Unfortunately, the record company lost interest and the Dictators soon found themselves without a label.
The Dictators were really frustrated. Lead songwriter, bassist and sometimes keyboard player Adny Shernoff decided that the wanted to sing his own songs, so Handsome Dick Manitoba was asked to leave. Just prior to their release from Asylum, drummer Richie Teeter left the band; he was quickly replace by Mel Anderson, formerly of Long Island’s Twister Sister (in which ex-Dictator bassist Mark “The Animal” Mendoza is now a member). Lead guitarist Ross “The Boss” Funicello later quit to join Shakin’ Street, a heavy-metal band. And what then of rhythm guitarist Scott “Top Ten” Kempner?
The ‘Tators played one of their last shows on October 20, 1978, at New York City’s Bottom Line, where this interview took place. All five ‘Tators were present at one time or another, as were Adny’s parents. For what it’s worth, here it is – unbeknownst at the time – the last Dictators interview:
FFanzeen: How did it feel playing the Bottom Line tonight?
Scott “Top Ten” Kempner: No so great. I’d rather play CBGB’s. No, it was alright. It was fun; it was good.
FF: Mel, how does it feel to be a Dictator?
Mel Anderson: Terrific.
Scott: Ha! You sure you don’t want to think about that for a while?
Mel: I’ve given it some thought – and I don’t have anywhere else to go, so…
FF: Why’d you leave Asylum?
Scott: They were basically not doing anything for the band. They stopped working on the Dictators about a month after Manifest Destiny came out; it was a big charade after that. I guess if the record had more play on the radio, they would have gotten something started without too much work. It was a situation where nobody in the company, outside of the publicity department, understood the band or knew anything about breaking in an act that wasn’t like Linda Ronstadt or the Eagles or Queen – something you’ve heard a million times before. They thought they couldn’t do anything with us and so we didn’t want to have anything to do with them.
FF: How did you feel about the way Bloodbrothers came out?
Scott: It was pretty much the other extreme – from overproduced to underproduced – neither of them necessarily in a bad sense, but there was an elaborate production on Manifest Destiny, and Bloodbrothers was intentionally done “live in the studio.” It sounds like a well-done demo. We just set up and played.
FF: Do you consider Manifest Destiny a sell-out after Go Girl Crazy?
Scott: It was a definite reaction to failing. Go Girl Crazy was like the product of years and years of ambition and ideas and something we all wanted to do. At the time, we thought we were making the greatest, newest, the most different rock’n’roll album – the rock’n’roll album every kid wanted; they didn’t.
FF: How has Bloodbrothers been doing, sales-wise, compared to the other two albums?
Scott: Better. Better, but not great. It doesn’t’ get much airplay. Now that the record company isn’t interested, I’m sure it’ll get even less.
FF: Why did Richie Teeter leave the band?
Scott: He broke his legs and we had to shoot him [laughs].
FF: No, seriously.
Adny Shernoff: He didn’t want to be in the group, so we said, “Get out of here.”
Scott: He no longer wanted to do it. He had too many commitments. He had two commitments and he was too involved in the other commitment. The two worlds couldn’t meet … He made a choice between the two and that was it. [Rumor has it that the other “commitment” was his wife who told him he had to choose between traveling with the band or staying with her – Ed.]
FF: How many drummers did you audition before you found Mel?
Adny: One
Scott: I saw Mel play in his old band, Twisted Sister. He used to wear this big rainbow-colored afro wig and he used to twirl his sticks and all these cool things. Fred Heller, Mott the Hoople’s manager after Ian Hunter quit, wanted the band Mott to do “Sleeping With the TV On” [From the album Manifest Destiny], so me and Adny, and this other guy from Queens and Mel made this demo in a friend’s basement. Mel called Adny while Teeter was telling us he was leaving and asked if we knew any bands who needed a drummer and we said, “It just so happens we do.”
FF: Dick, I think you mentioned in Trouser Press that the title Bloodbrothers came from the Richard Price novel.
Handsome Dick Manitoba (HD): Indirectly, juxtapositioning, yes.
FF: Have you seen the movie yet?
HD: No, I haven’t.
Scott: I did... I didn’t like it as much as the book.
[Adny Shernoff]
FF: Adny…
HD: Adny, here comes the hard question.
FF: How do your parents feel about the Dictators?
Adny: Ask ‘em.
FF: Mr. and Mrs. Shernoff?
Adny: [Imitating his father] “Well, at first we really didn’t think he was gonna do it, but now we have a lot more confidence. We’re glad he stuck to it” [laughs].
Mr. Shernoff: I’m glad he’s putting words in my mouth.
Mrs. Shernoff: He’s making me eat my words.
HD: Why? He’s still poor!
FF: Did any of the Dictators ever graduate from college?
HD: I did…not.
Scott: Mel, did you? No? No graduates here.
FF: Dick, who’s your favorite pro wrestler?
HD: Jimmy Valiant, Freddie Blassie, the Sheik, Killer Kowalski…
Scott: The Valiant Brothers together. They’re a team
[Exit Adny’s parents]
FF: Scott, I liked your Springsteen review in New Wave Rock [magazine].
Scott: Thanks. I feel like a 14-year-old kid when I listen to Bruce. Clarence is coming tomorrow night. [Clarence Clemons jammed wit the band on “What It Is” the next night. Tish and Snooky Bellomo of Manic Panic Clothing Store – ex-Sic F*cks/Pinups – sang back-up on the same song both nights – BG]
FF: What other bands on the scene right now do you like?
Scott: The Ramones. I love the Ramones – my favorite group. The Dead Boys, The Cramps…
FF: What unsigned bands?
Scott: The Cramps, Shrapnel, The Dictators..
Mel: There’s a good band called Moonbeam. I think they are really good.
FF: What kind of music do you like?
Mel: Count Basie, Duke Ellington, Tony Williams, Jimi Hendrix, Mott the Hoople, Bev Beven, and Electric Light Orchestra, the Move … I like everything. I like Frank Sinatra… the Wailers.
It was around this time when Handsome Dick left the dressing room to go to CBGB’s (the Police were playing). Adny was outside talking to his parents. Ross was with his girlfriend somewhere., I found myself in the dressing room with Scott and Mel, so we called it quits.
1980 Note by RBF: Good News: The Dictators have, since this article was written, gotten back together after a two-year break. The “Last Big Thing” is now Next in Line again. FFanzeen wishes to personally welcome back these top contenders to the ring, just when they were needed. Move over, here comes some gen-u-ine rock’n’roll!
[Master Race Rock, from their first album, Go Girl Crazy]
Live images by RBF; album covers from the Internet
Article © 1977; interview © 1980; RBF intro © 2010, all by FFanzeen
[Handsome Dick Manitoba, Ross the Boss Funicello]
Here is a two-for-one deal. FFanzeen published two pieces on the Dictators, the first in issue #3 in 1977 by Todd Abramson (who went on to publish his own fanzine, Young Fast and Scientific, and now co-owns the legendary Hoboken showcase Maxwell’s. The second is an interview at the Bottom Line by Barry Geiger, from issue #6 in 1980. I was introduced to the Dictators by Bernie Kugel, first in vinyl, and then in person, when we saw them play at CBGB’s in 1975 (before Handsome Dick Manitoba was officially the lead singer). Over the years, I saw them a number of times, and they never, ever failed me, including the Bottom Line show where I almost killed Handsome Dick (see my previous blog from January 12, 2009). When a younger friend came over to my place duing the early ‘80s, I played him the first Dictators release, Go Girl Crazy, to which he was not impressed. I told him to give it time, and put it to a cassette. Before long, he was a huge fan, and bought all their albums (and quite generously bought me their last one). Indeed, I believe in their fan club slogan, DFFD (Dictators Forever Forever Dictators). – RBF, 2010
Part I: Dictators Can Sing!!
By Todd Abramson; FFanzeen #3, 1977
So I got a frantic call from a Dictators maniac (like myself) saying they were gonna be playing at CBGB’s unannounced the following Saturday. Wow! Of course, I’m gonna go. So, in the middle of the week, I make a phone call to one of the ‘Tators themselves and he says sure, come on down, we’ll be playing at one, now leave me alone. I’m watching the Ali fight (or words to that effect). Great!
Naturally, I assumed he meant one in the morning. However, I called Miriam Linna (aforementioned Dictators fanatic) who told me Manitoba told her it’s gonna be one in the afternoon. Fantastic! A matinee performance of my fave band.So I’m in N.Y. by noon. After listening to a few records, our motley crew heads down to CBGB’s. Hmmm, that’s strange – nobody else here? So we were laughed at and told it was at night. Well, it’s better than nothing at all.
So, eventually night comes along (as I knew it would) and it finds us listening to WCBS-FM’s usually great Saturday Night Sock Hop. Great it was that night. I’ll never forget the way they played “Surf City” and “C’mon Everybody” back-to-back. Or, “I’m so Young,” by the Students, a Billy Miller request.
Pretty soon it gets to 11 o’clock or so, and excitement is building among our gathering. So what else to do but start blasting and dancing to my all-time favorite LP, the Dictators Go Girl Crazy. Stupendous! Uh, weekend.
And the time comes and our procession heads down to the hole in the wall known as CBGB’s. Some of us paid, some didn’t (I did. Ouch!).The Senders soon go on and play an interesting set of R’n’B-influenced rock. The highlight was a fab version of “I’m a Hog For You,” a Leiber-Stoller classic. They also did a fine version of Jimmy Reed’s “Bright Lights Big City” and a non-descript (I don’t know what it really means but it looks good, eh?) “Yakety Yak.”
Dictators are spotted, with shorter hair, Hawaiian shirts, finger fungus, and other such things. Talking w/ Adny Shernoff earlier he told me they were gonna do “Slow Death,” so I was excited as hell. Plus Mark “The Animal” Mendoza was no longer a member of the band, so Adny would be playing bass again.
Here they come… walking to the stage… get the funniest looks from, oh enuff of that. Handsome Dick dedicated the show to “his champion” Muhammad Ali. Back to Africa! Anyway, the Dictators start playing a new song destined to be on their third long-playing opus, Bloodbrothers.Well, from the third song on, that night the Dictators were the best band I’ve ever witnessed in my life. Unbelievable! I had just seen them a month or so before at CBGB’s Theatre. To be fair, everything about the place and what happened with the groups before the ‘Tators were on was dreadful, but while the ‘Tators were definitely good, they just didn’t move me. Which was a shame. They even did stuff like “Cars and Girls,” but the magic wasn’t there.
But this night was something different entirely. It was more than magic, I can’t even explain it. Adny had told me that these were the “best, loudest, fastest, teenagiest” songs he’d ever written and yes, the new LP would be even better than the first LP. But that was just too far out, I mean, I thought how could ANYTHING be better than the first LP (that made a man outta me, by the way)? But it’s fucking true! Just check out some of these new songs. One’s called “Let’s Twist,” which you can tell how great it is by the title, but it’s even greater than that! Another song, “Minnesota Strip,” is even greater!!!And yes, they did do “Slow Death.” And if the Flamin’ Groovies could do it better, then everybody else might as well stop making music. I mean I don’t think any band could ever be better than the ‘Tators that night. They did “Search and Destroy” great, but I sorta wish they’d drop it. I mean, let’s face it, it’s a great song and nobody’s gonna top the original.
So it was a night I’ll never forget. The ‘Tators themselves couldn’t believe it. The Handsome One said he was tired after the second song. No, not ‘cause he’s a wimp (how dare anyone even think that) but ‘cause all the songs were so fucking fast. Not mindless fast like the Ramones (who I really like but are no Dictators) or someone, but teenage, cars, girls, surfin’ beer, high school, McDonald’s Cheeseburgers fast. Go Manitoba, Go! ‘Cause that night and hopefully forever onward, the Dictators were the masters of the teenage race and everything it stood for.
[Scott Kempner, HD Manitoba, Ross the Boss]
Part II: The Last Big Thing: The Very Last Dictators Interview By Barry Geiger; FFanzeen #6, 1980
It seemed as though the rock press had decided to ignore the Dictator’s break-up as much as possible. Sure, all the magazines had managed to squeeze in a paragraph or so, reporting on the split, but nobody had given the Dictators the proper requiem they so greatly deserved. They were not just another rock’n’roll band – they were the ultimate rock’n’roll band.
Their 1975 album, The Dictators Go Girl Crazy, was classic rock’n’roll. It’s follow-up, 1977’s Manifest Destiny, though more sedated that Go Girl Crazy, was nevertheless a fine effort. 1978’s Bloodbrothers could have been the ‘Tators breakthrough album had Elektra/Asylum given it the proper promotion. Unfortunately, the record company lost interest and the Dictators soon found themselves without a label.
The Dictators were really frustrated. Lead songwriter, bassist and sometimes keyboard player Adny Shernoff decided that the wanted to sing his own songs, so Handsome Dick Manitoba was asked to leave. Just prior to their release from Asylum, drummer Richie Teeter left the band; he was quickly replace by Mel Anderson, formerly of Long Island’s Twister Sister (in which ex-Dictator bassist Mark “The Animal” Mendoza is now a member). Lead guitarist Ross “The Boss” Funicello later quit to join Shakin’ Street, a heavy-metal band. And what then of rhythm guitarist Scott “Top Ten” Kempner?
The ‘Tators played one of their last shows on October 20, 1978, at New York City’s Bottom Line, where this interview took place. All five ‘Tators were present at one time or another, as were Adny’s parents. For what it’s worth, here it is – unbeknownst at the time – the last Dictators interview:
FFanzeen: How did it feel playing the Bottom Line tonight? Scott “Top Ten” Kempner: No so great. I’d rather play CBGB’s. No, it was alright. It was fun; it was good.
FF: Mel, how does it feel to be a Dictator?
Mel Anderson: Terrific.
Scott: Ha! You sure you don’t want to think about that for a while?
Mel: I’ve given it some thought – and I don’t have anywhere else to go, so…
FF: Why’d you leave Asylum?
Scott: They were basically not doing anything for the band. They stopped working on the Dictators about a month after Manifest Destiny came out; it was a big charade after that. I guess if the record had more play on the radio, they would have gotten something started without too much work. It was a situation where nobody in the company, outside of the publicity department, understood the band or knew anything about breaking in an act that wasn’t like Linda Ronstadt or the Eagles or Queen – something you’ve heard a million times before. They thought they couldn’t do anything with us and so we didn’t want to have anything to do with them.
FF: How did you feel about the way Bloodbrothers came out? Scott: It was pretty much the other extreme – from overproduced to underproduced – neither of them necessarily in a bad sense, but there was an elaborate production on Manifest Destiny, and Bloodbrothers was intentionally done “live in the studio.” It sounds like a well-done demo. We just set up and played.
FF: Do you consider Manifest Destiny a sell-out after Go Girl Crazy?
Scott: It was a definite reaction to failing. Go Girl Crazy was like the product of years and years of ambition and ideas and something we all wanted to do. At the time, we thought we were making the greatest, newest, the most different rock’n’roll album – the rock’n’roll album every kid wanted; they didn’t.
FF: How has Bloodbrothers been doing, sales-wise, compared to the other two albums?
Scott: Better. Better, but not great. It doesn’t’ get much airplay. Now that the record company isn’t interested, I’m sure it’ll get even less.
FF: Why did Richie Teeter leave the band?
Scott: He broke his legs and we had to shoot him [laughs].
FF: No, seriously.
Adny Shernoff: He didn’t want to be in the group, so we said, “Get out of here.”Scott: He no longer wanted to do it. He had too many commitments. He had two commitments and he was too involved in the other commitment. The two worlds couldn’t meet … He made a choice between the two and that was it. [Rumor has it that the other “commitment” was his wife who told him he had to choose between traveling with the band or staying with her – Ed.]
FF: How many drummers did you audition before you found Mel?
Adny: One
Scott: I saw Mel play in his old band, Twisted Sister. He used to wear this big rainbow-colored afro wig and he used to twirl his sticks and all these cool things. Fred Heller, Mott the Hoople’s manager after Ian Hunter quit, wanted the band Mott to do “Sleeping With the TV On” [From the album Manifest Destiny], so me and Adny, and this other guy from Queens and Mel made this demo in a friend’s basement. Mel called Adny while Teeter was telling us he was leaving and asked if we knew any bands who needed a drummer and we said, “It just so happens we do.”
FF: Dick, I think you mentioned in Trouser Press that the title Bloodbrothers came from the Richard Price novel.
Handsome Dick Manitoba (HD): Indirectly, juxtapositioning, yes.
FF: Have you seen the movie yet?
HD: No, I haven’t.
Scott: I did... I didn’t like it as much as the book.
[Adny Shernoff]
FF: Adny… HD: Adny, here comes the hard question.
FF: How do your parents feel about the Dictators?
Adny: Ask ‘em.
FF: Mr. and Mrs. Shernoff?
Adny: [Imitating his father] “Well, at first we really didn’t think he was gonna do it, but now we have a lot more confidence. We’re glad he stuck to it” [laughs].
Mr. Shernoff: I’m glad he’s putting words in my mouth.
Mrs. Shernoff: He’s making me eat my words.
HD: Why? He’s still poor!
FF: Did any of the Dictators ever graduate from college?
HD: I did…not.
Scott: Mel, did you? No? No graduates here.
FF: Dick, who’s your favorite pro wrestler?
HD: Jimmy Valiant, Freddie Blassie, the Sheik, Killer Kowalski…
Scott: The Valiant Brothers together. They’re a team
[Exit Adny’s parents]
FF: Scott, I liked your Springsteen review in New Wave Rock [magazine].
Scott: Thanks. I feel like a 14-year-old kid when I listen to Bruce. Clarence is coming tomorrow night. [Clarence Clemons jammed wit the band on “What It Is” the next night. Tish and Snooky Bellomo of Manic Panic Clothing Store – ex-Sic F*cks/Pinups – sang back-up on the same song both nights – BG]
FF: What other bands on the scene right now do you like? Scott: The Ramones. I love the Ramones – my favorite group. The Dead Boys, The Cramps…
FF: What unsigned bands?
Scott: The Cramps, Shrapnel, The Dictators..
Mel: There’s a good band called Moonbeam. I think they are really good.
FF: What kind of music do you like?
Mel: Count Basie, Duke Ellington, Tony Williams, Jimi Hendrix, Mott the Hoople, Bev Beven, and Electric Light Orchestra, the Move … I like everything. I like Frank Sinatra… the Wailers.
It was around this time when Handsome Dick left the dressing room to go to CBGB’s (the Police were playing). Adny was outside talking to his parents. Ross was with his girlfriend somewhere., I found myself in the dressing room with Scott and Mel, so we called it quits.
1980 Note by RBF: Good News: The Dictators have, since this article was written, gotten back together after a two-year break. The “Last Big Thing” is now Next in Line again. FFanzeen wishes to personally welcome back these top contenders to the ring, just when they were needed. Move over, here comes some gen-u-ine rock’n’roll!
[Master Race Rock, from their first album, Go Girl Crazy]
Monday, January 12, 2009
How I Almost Killed Handsome Dick Manitoba
Text and photos © Robert Barry Francos
All photos taken at the Bottom Line, 10/21/77, except as indicated
The first time I heard of The Dictators was at Bernie Kugel’s house in the spring of 1975. Go Girl Crazy had just been released, and truthfully, at first I didn’t get it. At that time, I didn’t get much. It was just before we had started going to CBGB, and my music taste was more in the Simon & Garfunkel vein than, say, Blue Oyster Cult. I hadn’t even heard the Ramones yet, and wouldn’t until June 20 when I saw them the first time I attended CBGB.
After hearing the album a few times, I was not overly impressed, but agreed to go see them at CBGB during the summer of ’75. That is what made me a believer, seeing this incredibly fun band play. Handsome Dick Manitoba (HDM) was still a guest vocalist at that time, with most of the duties falling ably to Adny Shernoff, who was still mostly on bass and the occasional keyboard, if I remember correctly.
On the way out, we ran into HDM near the door, by the pinball game. Bernie nervously introduced himself, to which HDM boomed loudly, “Hey! Kugel! Like the pudding!” They talked for a short while (though I couldn’t hear what they were saying), and then we left to go to our local White Castle before I dropped Bernie off at his place and headed home as the sun rose.
After that, I began to really enjoy the album, and could see what Bernie was talking about. Also, I had been to CBGB and Max’s Kansas City quite a few times, so my perspectives were also changing.
A couple of years past and in 1977, I was a true fan. Their second, excellent album, Manifest Destiny had been released, and I was totally blown away by it, especially “Steppin’ Out,” “Disease,” “Science Gone Too Far,” and “Young, Fast and Scientific.” To this day, I can still quote the entire intro to “Disease.” As the band’s fan club stated (no, I never did join), DFFD: Dictators Forever Forever Dictators.
I went to see them play at the Bottom Line on October 21, 1977, getting on line early enough to find a seat near the front, slightly off center (the best place since the stage was high, unless you wanted to look up the singer’s nose).
The band was the aforementioned HDM (who was now official lead vox) and Shernoff (mostly keyboards), and included founding members Scott “Top Ten” Kempner and Ross the Boss Funicello (Russell Friedman), both on guitar. Recent additions were Richie Teeter on drums and Mark “The Animal” Mendoza on bass pounding. They were a solid unit with a strong bottom and powerful strings.
The show was great, but that was no surprise. At some point in the set, they started up their opening cut from Go Girl Crazy, the wondrous “The Next Big Thing.” The rhythm of it goes Ba-da-da-da-da-DUM, Ba-da-da-da-da-DUM, with the emphasis on the last beat.
Because of the time period this occurred, there was smoking permitted in the club, so the tables had ashtrays. The Bottom Line used thick black plastic ones, which they cleaned and reused after each show. When “The Next Big Thing” started, I grabbed the (unused) ashtray, and started banging it on the table to the rhythm, including adding the emphasis. About the time of the upward key change of the song, I must have hit the ashtray just a bit too hard or at a weird angle, because a one-inch-by-two-inch piece that was half moon shape broke off and flew just a couple of inches past HDM’s head, and had enough momentum that it bounced off the wall way behind him. He must have heard the whiz of it, because he turned his head to see what it was, though he never missed a beat. I don’t believe he figured it out, though. Just a slight change in trajectory, and it might have stuck into his head like a ninja star.
I kept that broken ashtray as a souvenir for a number of years, but eventually tossed it because (a) it didn’t really have a connection to anything other than my memory, which I didn’t need it for, and (b) I don’t smoke.
Many years later, in the summer of 2006, I was giving the Detroit punk band Choking Susan a “punk rock tour” around the East Village (Trash & Vaudeville, Gem Spa, etc.), and brought them over to HDM’s bar, Manitobas. Sure enough, HDM was there behind the bar that night, and I knew the members of Choking Susan were fans, but were a bit starstruck to go over and talk to him. I walked over and introduced myself (as publisher of FFanzeen because odds are he would remember my ‘zine), and then brought him over to meet the band. It was a great moment, as HDM took them around the bar, and using a small flashlight, spent time with them telling them stories that went with the photos on the wall. He also sat with them for a while at a table. HDM is definitely a cool guy. I took the photo of Choking Susan and HDM that CS use on their MySpace site (see below).
[Choking Susan and Handsome Dick Manitoba at Manitobas, 2006]
As the band was getting ready to go and gathering their things, I walked outside and HDM was sitting on the bench out front. I sat next to him, and thanked him for his generosity. He smiled and said he was glad to do so, as we talked for the few minutes while I waited for the band to come out. I wish I had thought to ask him if he remembered something flying by him at that show at the Bottom Line, and to tell him what happened with the piece of ashtray, but truthfully, by the time I remembered, I was already blocks away.
All photos taken at the Bottom Line, 10/21/77, except as indicated
The first time I heard of The Dictators was at Bernie Kugel’s house in the spring of 1975. Go Girl Crazy had just been released, and truthfully, at first I didn’t get it. At that time, I didn’t get much. It was just before we had started going to CBGB, and my music taste was more in the Simon & Garfunkel vein than, say, Blue Oyster Cult. I hadn’t even heard the Ramones yet, and wouldn’t until June 20 when I saw them the first time I attended CBGB.
After hearing the album a few times, I was not overly impressed, but agreed to go see them at CBGB during the summer of ’75. That is what made me a believer, seeing this incredibly fun band play. Handsome Dick Manitoba (HDM) was still a guest vocalist at that time, with most of the duties falling ably to Adny Shernoff, who was still mostly on bass and the occasional keyboard, if I remember correctly. On the way out, we ran into HDM near the door, by the pinball game. Bernie nervously introduced himself, to which HDM boomed loudly, “Hey! Kugel! Like the pudding!” They talked for a short while (though I couldn’t hear what they were saying), and then we left to go to our local White Castle before I dropped Bernie off at his place and headed home as the sun rose.
After that, I began to really enjoy the album, and could see what Bernie was talking about. Also, I had been to CBGB and Max’s Kansas City quite a few times, so my perspectives were also changing.
A couple of years past and in 1977, I was a true fan. Their second, excellent album, Manifest Destiny had been released, and I was totally blown away by it, especially “Steppin’ Out,” “Disease,” “Science Gone Too Far,” and “Young, Fast and Scientific.” To this day, I can still quote the entire intro to “Disease.” As the band’s fan club stated (no, I never did join), DFFD: Dictators Forever Forever Dictators. I went to see them play at the Bottom Line on October 21, 1977, getting on line early enough to find a seat near the front, slightly off center (the best place since the stage was high, unless you wanted to look up the singer’s nose).
The band was the aforementioned HDM (who was now official lead vox) and Shernoff (mostly keyboards), and included founding members Scott “Top Ten” Kempner and Ross the Boss Funicello (Russell Friedman), both on guitar. Recent additions were Richie Teeter on drums and Mark “The Animal” Mendoza on bass pounding. They were a solid unit with a strong bottom and powerful strings.
The show was great, but that was no surprise. At some point in the set, they started up their opening cut from Go Girl Crazy, the wondrous “The Next Big Thing.” The rhythm of it goes Ba-da-da-da-da-DUM, Ba-da-da-da-da-DUM, with the emphasis on the last beat.
Because of the time period this occurred, there was smoking permitted in the club, so the tables had ashtrays. The Bottom Line used thick black plastic ones, which they cleaned and reused after each show. When “The Next Big Thing” started, I grabbed the (unused) ashtray, and started banging it on the table to the rhythm, including adding the emphasis. About the time of the upward key change of the song, I must have hit the ashtray just a bit too hard or at a weird angle, because a one-inch-by-two-inch piece that was half moon shape broke off and flew just a couple of inches past HDM’s head, and had enough momentum that it bounced off the wall way behind him. He must have heard the whiz of it, because he turned his head to see what it was, though he never missed a beat. I don’t believe he figured it out, though. Just a slight change in trajectory, and it might have stuck into his head like a ninja star.I kept that broken ashtray as a souvenir for a number of years, but eventually tossed it because (a) it didn’t really have a connection to anything other than my memory, which I didn’t need it for, and (b) I don’t smoke.
Many years later, in the summer of 2006, I was giving the Detroit punk band Choking Susan a “punk rock tour” around the East Village (Trash & Vaudeville, Gem Spa, etc.), and brought them over to HDM’s bar, Manitobas. Sure enough, HDM was there behind the bar that night, and I knew the members of Choking Susan were fans, but were a bit starstruck to go over and talk to him. I walked over and introduced myself (as publisher of FFanzeen because odds are he would remember my ‘zine), and then brought him over to meet the band. It was a great moment, as HDM took them around the bar, and using a small flashlight, spent time with them telling them stories that went with the photos on the wall. He also sat with them for a while at a table. HDM is definitely a cool guy. I took the photo of Choking Susan and HDM that CS use on their MySpace site (see below).
[Choking Susan and Handsome Dick Manitoba at Manitobas, 2006]As the band was getting ready to go and gathering their things, I walked outside and HDM was sitting on the bench out front. I sat next to him, and thanked him for his generosity. He smiled and said he was glad to do so, as we talked for the few minutes while I waited for the band to come out. I wish I had thought to ask him if he remembered something flying by him at that show at the Bottom Line, and to tell him what happened with the piece of ashtray, but truthfully, by the time I remembered, I was already blocks away.
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