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FunHouse the cyberzine of degenerate pop culture vol. 1 no. 5
FUNHOUSE!
The cyberzine of degenerate pop culture
vol. 1 - no. 5; October 20, 1994
Released on Bela Lugosi's would-be 112th birthday
editor: Jeff Dove (jeffdove@well.sf.ca.us)
associate editor: Jeff Frentzen (jfrentzen@pcweek.ziff.com)
back issues: ftp - ftp.cic.net or ftp.etext.org; gopher - gopher.well.sf.ca.us
The first FUNHOUSE! Garbage Rock issue
<Note: written on a Macintosh text editor, line feeds are on. Display in
nine point monaco font.>
FUNHOUSE! is dedicated to whatever happens to be on my mind at the time that
I'm writing. The focus will tend to be on those aspects of our fun filled
world that aren't given the attention of the bland traditional media, or which
have been woefully misinterpreted or misdiagnosed by the same. FUNHOUSE! is
basically a happy place, and thus the only real criteria I will try to meet is
to refrain from rants, personal attacks, and flames - and thus FUNHOUSE! is an
apolitical place. Offbeat films, music, literature, and experiences are
largely covered, with the one stipulation being that articles are attempted to
be detailed and well documented, although this is no guarantee of completeness
or correctness, so that the interested reader may further pursue something
which may spark her interest. Correspondence and contributions are thus
encouraged, and any letters will by printed in future issues. Please send a
short message to the above address, and arrangements will be made for the
submission of larger items. The only other item is that FUNHOUSE! is
Free-Free-Freeware! PLEASE copy and distribute as you wish; however please do
not alter any text. I will be happy to try to clarify anything contained
herein, and to provide additional information if I can, so don't hesitate to
contact me.
Table of Contents:
* Letters, Commentary, and Other Stuff You'll Probably Skip Over
* The Rust@Death Mail List Evaluates the Neil Young Catalog
* The FUNHOUSE! Hot 100 - The One-Hundred Most FUNHOUSE! LPs of All Time
* Jeff Frentzen's Sleaze Film Source List
* A Survey of Essential Sixties Garage Punk Albums
Letters, Commentary, and Other Stuff...
---------------------------------------
The other day, I was strolling through the local Safeway, where a "Safeway
Cart" now requires a 25 cent deposit (Safeway claims it's to keep the homeless
from bagging the carts, but the truth is that they want to force you to
return them to their racks). I saw an interesting item for sale - "Teen
Spirit Shampoo." How's that stuff "smell?" I wonder if they had it available
in the Wood$tock Bazare, purchasable only with official Wood$tock Script, at
Wood$tock '94? It would have been hard to imagine that punk rock would become
marketable back in '81 or '82, when you faced a brawl with some lowered pickup
truck full of jock assholes blasting Journey just for walking down the street
with your hair cropped. And the only thing more annoying than the promoters
and their MTV cohorts - trying to blatantly squeeze every possible buck out of
the event - were all the hippies who were bitching about it with a headfull of
romanticized pseudo-memories about '69. There's nothing wrong with making a
nice profit, but the concept of "excess" seems to be foreign to the peddlers
of Wood$tock '94. MTV - where attitude is for sale: "I came in here for a
special offer / guaranteed personality." And despite the Gillman Street days,
Green Day have demonstrated that there isn't much punk rock left in them.
Just appearing at Wood$tock is enough proof of that. And to close off this
little blast of negativity and get on with the fun, I have to wonder about all
of the fond rememberances of Woodstock '69 anyway. Does anybody still really
like the majority of groups that played woodstock '69? I see that subgenre as
one of the absolute low points in rock-and-roll history. If you look past Sly
and the Family Stone, The Who, Jimi Hendrix and Neil Young (apart from CS&N!),
the rest of them were below mediocre or pure crap. $35 for a Rolling Stones
tee? Man, yuppies are suckers.
In the FUNHOUSE! tradition, we aren't delivering much of what was promised in
the last issue. Like it says above, it's "dedicated to whatever happens to be
on my mind at the time." Don't worry, next time we'll get back to the Italian
movie Maestro retrospective, and present Argento Part II, as well as Part II
of Jeff Frentzen's "All Night Video Drive In." However, this issue is
dedicated to real, raw, trashy rock-and-roll. With the recent release of Neil
Young's noisy Sleeps With Angles album, I decided to comission members of the
the Neil Young mailing list Rust@Death (currently trading info through the
address rust@death.fish.com) to provide some evaluation of the wealth of
material that Mr. Young has put out over the last 25 years. Also included in
this issue is the Top 100 FUNHOUSE! albums of all time. This is no "best of"
list - I try not to be pretentious enough to claim to know that. Rather, it's
the 100 records which best fit the FUNHOUSE! aesthetic of being honest and
energetic rock-and-roll. Carrying on in that vein, FUNHOUSE! also presents an
overview of the LPs of some of the raging'est punk groups of the sixties
(there should be no surprise at a certain degree of overlap in these pieces!)
Psychotronic cinema isn't abandoned completely this time. For answers to
those questions of, "That's cool - but where do I get it?" Jeff Frentzen has
compiled a sleaze film source list for videos and zines. There's no review
section this time, but it will be back with a vengeance in issue number six.
Giallo creeps into American TV! Promos for a new Perry Mason telemovie (uh,
sorry but I missed the actual show) showed a black gloved killer wielding a
blade.
More Russ redux:
There are a new pair of soundtrack CDs from Russ Meyer's films recently
released in Germany under the direction of Russ himself. Each is a comp-
ilation of music from three films, and each comes with a heavily illustrated,
high quality, color booklet (adults only!) One features FASTER PUSSYCAT KILL!
KILL!, LORNA and VIXEN, while the other contains music from UP! (aka
MEGAVIXENS,) BENEATH THE VALLEY OF THE ULTRAVIXENS, and SUPERVIXENS. Only
VIXEN and CHERRY, HARRY AND RAQUEL (both on the Beverly Hills label) and
BEYOND THE VALLEY OF THE DOLLS (originally on Fox, and recently reissued on CD
on the Media Archives label) have had soundtrack LPs issued in the past. Grab
the PUSSYCAT one for the great title theme by the Bostweeds. How about MONDO
TOPLESS next?
Long live Roger Nusic!
The Hall of Shame - The Most "Un-FUNHOUSE!" figures in "rock":
Billy Joel (Attila)
Phil Collins (whose latest tour is sponsored by Sears - isn't that the perfect
alliance of peddlars of lowest common denominator, safe drool to
boreing middle class America?)
Sammy Hagar (Van Hagar)
Steve Perry (Journey)
Pat Boone
************************************
Hi,
I read FUNHOUSE! #4 the other day and I just wanted to let you know that I
didn't fuckin' believe it! Amazing...there ARE weirdos like me who dig all
this psychotronic crap. The music stuff was good - I was able to use the info
- but what I *really* dug was the piece on Argento - marvelous! I'm a writer
and I was considering writing a piece for Psychotronic Video. I figured I'd
write on one of my fave directors, and since Russ Meyer was just covered I
thought it'd be natural to do Argento. Well this article had more info on
that guy than I even knew was publicly available, may I ask where the hell you
dug that shit up? You know, it was news to me that there was a book out about
his stuff also. All I know is that SUSPIRIA is my favorite witchcraft movie
ever, and (this is weird) when I read your article I had tons of flashbacks
about the Argento flicks that *I'd never seen before*, like I'd seen them
somewhere (where?) in early childhood. I've been conducting a lot of research
on dreams and consciousness lately and realize that in a weird way this could
be a psychotronic flick in itself. There is something unsettling about
Argento's movies, like after you watch them they linger in weird ways; they do
strange things to my early seventies / early childhood memories. There's a
certain kind of truth to Argento flicks and I think that's why I love them.
Thank you,
Michael Stutz
at118@cleveland.freenet.edu
************************************
Hi Jeff,
I'm really sorry to contact you this close to your deadline, but I really have
no time to write a review of Neil Young's Harvest. I was out of town for
business quite frequently this month and I just can't make it. Next week is
very busy again. I tried to contact you before but was unable to. Forgive me
contacting so late. Hope you find a solution for this.
Greetings,
Wilco Schepen
schepen@rulub2.leidenuniv.nl
************************************
The Rust@Death Mail List Evaluates the Neil Young Catalog
---------------------------------------------------------
When I put out a request for reviews of Neil's albums to the list members,
there were no rules. I simply asked that a commentator pick a record that
they have strong feelings about one way or the other - a positive disposition
toward the title was not necessary. It was no surprise, however, that each
person picked an album they liked a lot. In light of Neil's comments that
anyone who claims to like every one of his records must be crazy, there are
probably some members of Rust@Death who could use some therapy. With that in
mind, I believe these evaluations will help others sort through a diverse
catalog, in which Mr. Young puts his unique twist on varying musical styles -
from folky acoustic to hard and distorted, and from feedback-drenched to pure
country, big band R&B, rockabilly, synth and techno. So if you're into some
of Neil's stuff and want to know which titles in his vast back catalog might
be of a similar style, or if you're just trying to put it all into place, the
following should be a useful source. Only records on which Neil Young was the
principal artist are considered, which means nothing by Buffalo Springfield,
CSN&Y, or the Stills-Young band is included. You will, however, read about
Crazy Horse, the Stray Gators, the Bullets, the International Harvesters, the
Shocking Pinks, the Bluenotes, and the Restless. Booker T. and the MGs
haven't yet appeared on an official release, but hopefully that is something
we can look forward to.
NEIL YOUNG
1969 - Reprise 6317
The Emperor of Wyoming / The Loner / If I Could Have Her Tonight / I've Been
Waiting for You / The Old Laughing Lady / String Quartet from Whiskey Boot
Hill / Here We Are in the Years / What Did You Do to My Life / I've Loved
Her So Long / The Last Trip to Tulsa
by Ken Myers
kmyers@usace.mil
I have always been impressed by the "sound" of this album. I have heard that
the CD release of Neil Young does not stand up sonically, but my vinyl
version, now over 20-years old, still sounds great. (Alright, alright, the
quiet passages, especially on "Quartet From Whiskey Boot Hill," are kind of
crunchy). This album has a lot happening on it, from the Hollywood Strings
(?) to the almost mechanical, almost inaudible whirring and buzzing
multi-tracked muted fuzz guitars. And then there's Neil's voice, haunting,
spooky, beautiful. His plaintive, arid, downright dangerous sounding vocals
are some of his best. I make no attempt to analyze lyrics here, but let me
say that it sounds like they're the words of a soul who has crossed to the
other side and wants us to follow him. Here are just some brief thoughts on
this album. Some may call this work overproduced, and I would dare say Mr.
Young would not disagree. I remember a Rolling Stone interview from the
mid-70's in which Neil referred to this album as "overdub city." Certainly
the presence of strings may put off many of his grunge followers today, but
taken within the context of its time, this album holds up remarkably well. I
hate the cover art. I've always loved the opener, "The Emperor of Wyoming."
Hell if I know what the title means, but this starts off as a loping cowboy
instrumental (I bet there are lyrics to this song somewhere) and segues nicely
into "The Loner." This is my favorite song on the album, it reminds me a lot
of "Mr. Soul," but with strings. It's got those great buzzing guitars too. I
think the background vocals work wonderfully on "The Old Laughing Lady," but
almost ruin "I've Loved Her So Long." "I've Been Waiting For You" has a great
guitar (there must be hundreds of them) intro. Then there is "The Last Trip To
Tulsa"!!! What a way to end this album - weirdness disguised as weirdness. I
love it, it's so different from what came before. The jangled and jarring
images, the paranoid, almost whining vocals - just Neil and his guitar.
However, the single most beautiful moment on this album is on "Here We Are In
The Years," when Neil sings the line "So the subtle face is a loser this time
around." It is absolutely beautiful and evocative, and is my all time
favorite "Neil moment."
EVERYBODY KNOWS THIS IS NOWHERE
1969 - Reprise 6349
Cinnamon Girl / Everybody Knows This is Nowhere / Round and Round (It Won't
Be Long) / Down By the River / The Losing End (When You're On) / Running Dry
(Requiem for the Rockets) / Cowgirl in the Sand
by Lise R. Zawlocki
lisez@cruzio.com
The year is 1969. The year of Woodstock, and of Neil Young's classic second
album, "Everybody Knows This Is Nowhere." The album marked Neil's first of
many collaborations with a group that calls itself Crazy Horse, and that
featured a guitar player named Danny Whitten. Whitten's drug-overdose death
would later inspire Young's "The Needle and the Damage Done," featured on the
1972 release Harvest. The next Crazy Horse project wouldn't be until 1975's
Zuma, with Frank San Pedro replacing Whitten on guitar. Everybody Knows
This Is Nowhere has a stripped production sound; its beauty lies in the
guitar solos in "Down By The River," or in the childlike vocals in the title
track. The album's lyrics are simple and soulful, yet not fully understood,
even after listening to this album for over twenty years. But Everybody
Knows This Is Nowhere has clearly withstood the test of time, and has
produced some favorites that often get played live when one sees Neil Young
perform. The first selection on the album is one such standard at many of
Young's shows - "Cinnamon Girl." But what does this song speak of? On this,
and many of the songs on this album, the lyrics are almost an afterthought.
It is the music - the lead guitar, the rhythm guitar, the drums, that make the
song a classic performance piece. In the second track Neil complains that he
wants to go home, but does he really? Is it complacency that keeps him from
going home or is he telling us sarcastically that "Everybody Knows This Is
Nowhere"?:
"Everybody seems to wonder / What it's like down here / I gotta get
away / From this day-to-day runnin' around / Everybody knows this is
nowhere / (la la la, la la la la)"
That sweet, boyish harmony on the "la la la"'s send me reeling and wondering
what he's really trying to tell me. The third track is "Round and Round (It
Won't Be Long)," with a slow, lulling pace and more angelic harmony vocals.
Like the spider who comes out every evening to patiently repair its web, this
song evokes a feeling of time drifting by, of death approaching. The lyrics
are uncomplicated and intoxicating:
"It won't be long.../ How slow and slow and slow it goes / To mend the tear
that always shows / It won't be long / It won't be long..."
Then, just as you are ready to drift off to never-never land, the last and
longest song of side one hits you right between the ears. "Down By The
River," another brilliant vehicle for Neil's awesome guitar playing abilities,
explodes with unadulterated energy. A long, raw guitar solo is restrained
only by the steady backdrop of the rhythm guitar and bass line. The drums
beat a machine gun staccato in between each phrase of the chorus:
"Down by the river / I shot my baby / Down by the river/ Dead (shot
her dead)..."
"The Losing End (When You're On)" is one of Young's most obvious early forays
into country music, with a simple tune and earthy charm. He writes about
abandonment and self pity:
"It's so hard to make love pay / When you're on the losing end / And I
feel that way again... / It's so hard for me now / But I'll make it
somehow / Though I know I'll never be the same / Won't you ever change
your ways?"
It's easy to dismiss this little ditty, but it wears on you just the same,
like a shabby old coat that you just can't toss. Throughout Everybody Knows
This Is Nowhere, Neil Young is feeling sorry for himself, confessing some
dark crime, or simply a secret wish he harbors in his heart. By the time we
get to "Running Dry (Requiem For The Rockets)," it's not difficult to notice
that his apologies sound more like unrepentant, even proud, declarations. The
chorus is one massive rationalization:
"I'm sorry for the things I've done / I've shamed myself with lies /
But soon these things are overcome / And can't be recognized."
Yet the lilting, plaintive melody and woeful violin solo reflect the artist's
inner torture at having deserted his lover:
"Oh please help me, oh please help me / I need someone to comfort me /
My cruelty has punctured me / And now I'm running dry"
The truly fitting finale of this album is its longest song as well, "Cowgirl
In the Sand," a beautiful, lyrical, rocking and raw piece with long,
unrestrained guitar solos and soulful musicianship throughout. The song may
have additional significance for its mention of Neil's favorite state of
deterioration: RUST! Careful listening will reveal this lyric:
"Hello Ruby in the dust / Has your band begun to... "
You know the rest. Blow the cobwebs off *your* copy and give it a listen.
It's a great album, and after a quarter of a century, still holds up for its
powerful music, evocative lyrics, and historic significance as the first Neil
Young / Crazy Horse collaboration.
AFTER THE GOLD RUSH
1970 - Reprise 6383
Tell Me Why / After the Gold Rush / Only Love Can Break Your Heart / Southern
Man / Till the Morning Comes / Oh Lonesome Me / Don't Let It Bring You Down /
Birds / When You Dance I Can Really Love / I Believe in You / Crippled Creek
Ferry
by Runar Igesund
si2_ri92175@debet.nhh.no
After the Goldrush is a "right" album. Right in the sense that it changes
and grows, along with the listener. The first time I listened to it, I
thought that "Southern Man" was the only cool track on the album. Maybe
because it, together with "When You Dance I Can Really Love", were the only
tracks that were with an electric band. But soon I learned to appreciate the
fine lyrics of "Tell Me Why," and the ingenious melody of "Don't Let It Bring
You Down." And "After the Goldrush" sums up the album, as a title track
should. A mostly acoustic album, it tends to be a bit soft, like on Neil's
cover version of Don Gibson's "Oh Lonesome Me." It's nice and calm, and
doesn't "tear up the neighborhood." But most of all, the arrangements
underline what might be Neil Young's finest collection of tender melodies.
HARVEST
1972 - Reprise MS 2032
Out on the Weekend / Harvest / A Man Needs a Maid / Heart of Gold / Are You
Ready for the Country / Old Man / There's a World / Alabama / The Needle
and the Damage Done / Words
by Jyrki Kimmel
kimmel@sai.vtt.fi
"Think I'll pack it in and buy a pickup / Take it down to L.A."
Those lines begin Neil Young's Harvest, the legendary album that "put (Neil)
in the middle of the road." The image I always get listening to this part is
of driving down I-15 from Nevada to San Bernadino and Los Angeles - but what
could be more inappropriate? Neil has since commented, "It was time to head
for the ditch," after he made this album, but signs of the ditch are already
evident here. The opening tune, "Out on the Weekend," sets the tone for
Harvest's first section, which is comprised of four melancholy songs,
including Neil's one and only number-one hit single, "Heart of Gold." Between
these two are "Harvest" and "A Man Needs a Maid." All of them are clearly MOR
(middle of the road), but they are just another segment of Neil's vast range
of material. However, experiments with the London Symphony Orchestra
distinguish this music from the usual chart-hit mache. "Out on the Weekend"
is the story of someone escaping a broken relationship. The L.A. reference is
a permanent symbol in Neil's work. With this song you can escape anywhere.
"Harvest" is a much more innocent-sounding tune, with folkie references to a
young maiden:
"Did I see you walking with the boys / Though it was not hand in hand"
The "promise of a man" Neil wants to "fill your cup" with is, however, a
powerful reference to responsibility and the final decisions one encounters in
life. "A Man Needs a Maid" is superficially a womanizer's song, but in fact
"a maid" is, literally, a profession. If your heart is pure, you will
understand as there are no hidden meanings here! The use of the London
Symphony Orchestra seems pompous at first, but maybe the Streisand sound in
fact works better here than anywhere else. The song is simply heart breaking.
"Heart of Gold" is a song anyone can relate to, and maybe that's why it went
to number one on the US charts. Neil's simple acoustic playing and piercing
harmonica give it a feeling of utmost importance:
"I'd cross the ocean for a heart of gold"
We all know there's a "fine line" that cannot be defined which makes all the
difference. The first side of the vinyl LP ends with "Are You Ready for the
Country," a healthy reminder of the "ditch" side of Neil. Morbid references
to the hangman, and the haphazard guitar work, flip the album totally to the
other side of midnight.
Side two starts, again, with two songs in the MOR vein, "Old Man" and "There's
a World." "Old Man" features another chilling performance, and James Taylor's
banjo provides a superb touch. Neil's thoughts on the life of a celebrity,
and the fundamental loneliness found in overt publicity, are reflected here:
"Oh, one look at my eyes and you can tell that's true"
"There's a World" is another experimental tune with the London Symphony
Orchestra, complete with kettle drums and all. "Take it in and blow hard" is
Neil's advice to his listener as to the attitude one ought to take in life. A
counterpoint to these is "Alabama," a song altogether too widely labeled,
along with "Southern Man," as a comment on racist attitudes in the Southern
United States. In fact, this is one of Neil's more personal tunes, and has
the ultimate reference to the MOR / ditch dualism:
"Alabama - You got the weight on your shoulders that's breaking your back /
Your Cadillac has got a wheel in the ditch and a wheel on the track"
The guitar here is perfect "ditch." The subject matter of the next track,
"The Needle and the Damage Done," brings Harvest to the bottom of the ditch.
It is Neil's anti-drug manifesto, performed live on acoustic guitar. However,
the tune itself is strictly MOR. Imagine the lyrics of "From Hank to Hendrix"
inserted and you'd get another chart-buster, but talk about junkies and drug
deals may not be appropriate. The last song on the album is also "ditch."
Rhythmically, "Words" is an experiment, but proves its point in a wall of
electric and slide guitar barrages, which is a more than appropriate ending to
this album. Harvest is to the diehard Neil fan like a box of corn flakes;
you know what's there, you've tasted other cereals and maybe prefer more
exotic varieties, but you still have to go back once in a while for the
classic. Trust me, it's all here, as the core of Neil's work has not changed
over time. Neil has since produced albums that have surpassed the material on
Harvest, with respect to both MOR and "ditch," more so than probably anybody
imagined in 1972. Harvest deserves its legendary status, even though it has
been criticized as patchy and not wholly developed conceptually. I would
argue that it is conceptually perfect as a document of Neil's personality.
With its middle-of-the-road attitude and its "ditch" flip side, Harvest
provides both questions and answers concerning "life, the universe, and
everything."
JOURNEY THROUGH THE PAST
1972 - Reprise 2XS 6480
For What It's Worth-Mr. Soul / Rock-and-Roll Woman / Find the Cost of
Freedom / Ohio / Southern Man / Are You Ready for the Country / Let Me
Call You Sweetheart / Alabama / Words / Relativity Invitation / Handel's
Messiah / King of Kings / Soldier / Let's Go Away for Awhile
by Steve Vetter (Farmer John)
vetters@vax1.elon.edu
Journey Through the Past is probably one of Neil Young's most underrated
albums. Released in 1972, as the soundtrack to the movie of the same name and
right after the massive success of Harvest, it was in many fans' eyes a
letdown. In fact Journey Through the Past only offers one new song, and it
is buried on side four between what is, in my opinion, a bunch of crap. The
double album (still not available on CD) starts off with some classic live
recordings of the Buffalo Springfield on old TV shows. Interestingly enough,
you can hear the young girls go wild, just like the did for the Beatles'
appearances. They do "For What It's Worth" and segue into "Mr. Soul."
Following that is a throw away version of "Rock-and-Roll Woman." Closing side
one is a performance of "Find the Cost of Freedom" that runs right into a
version of "Ohio," which sounds very close to the original. Sides two and
three are much better. "Southern Man" begins side two with a long, jam
version in front of an audience. Following it is "Are You Ready For the
Country" (or at least part of it), which segues into a group of teenagers
singing "Let Me Call You Sweetheart." What comes next is my second-favorite
part of the album. Neil and some of CSN take up a jam of "Alabama," and you
can hear someone in the studio fooling with the mix. The best part of
"Alabama" is Neil saying, "We should do a moving Oooooh..." What I like about
this is that you can hear the creative process between Neil and CSN. You can
also hear an event like this on the bootleg Touch the Clouds. As soon as the
guys figure out what they should play they get right back into the groove.
There is a bizarre section in which the music fades out and Richard Nixon is
heard doing a singalong of "God Bless America," along with Crosby (?) talking
about apple pie. I liked it until Crosby got in there.
The best is yet to come. Once you turn over the record you are treated to a
*full* side of "Words." This is also in practice / jam style and is
wonderful. If you sit back and close your eyes, you almost feel like you are
with Neil and friends just working this out, jamming in the barn. Side four
contains a bizarre sequence with Neil talking to a preacher about "Relativity
Invitation," then there is a really long, irritating section of "Handel's
Messiah." The music and the "King of Kings" theme is pretty interesting, but
the singing is downright annoying. The only new song on this album is
"Soldier," and it begins with an interesting intro not found on the Decade
version. It had been a long time since I listened to this album and that was
a welcome surprise. Concluding the side, and the record, is a song called
"Let's Go Away for Awhile." It sounds lifted straight from the muzak system
at the dentist's office. The only way to describe this album is unusual - the
good stuff is exceptional and the bad stuff is awful. Sides two and three are
the standouts - if you are into jams and cool grooves buy the album and listen
to those two sides. The rest of it (save "Soldier") is throwaway material
that did not translate well from screen to LP (including David Crosby screwing
up part of "Alabama.") Neil has much better albums in his catalog, but
Journey Through the Past should not be overlooked or forgotten. Fortunately,
Neil won't deny fans the opportunity to enjoy it on CD when the reissue comes
out.
TIME FADES AWAY
1973 - Reprise 2151
Time Fades Away / Journey Through the Past / Yonder Stands the Sinner /
L.A. / Love In Mind / Don't Be Denied / The Bridge / Last Dance
by David Skoglund
skog0013@gold.tc.umn.edu
"My songs are all so long
And my words are all so sad"
- Neil Young
The key to understanding and appreciating Time Fades Away is in knowing the
conditions under which it was recorded. In the fall of 1972, Neil Young put
together a band to tour in support of his Harvest album. He had not been out
for almost two years, since his solo acoustic tour of early 1971. In that
time, both After the Goldrush and Harvest had been huge albums, thereby
creating a demand for live shows. An arena tour was booked for the early part
of 1973, and to no one's surprise tickets sold quickly. The band that Young
had assembled was a combination of the Nashville players from the Harvest
album, and Crazy Horse. The initial tour lineup featured Young, Ben Keith
(steel guitar), Tim Drummond (bass), Kenny Buttrey (drums), Jack Nitzsche
(piano) and Danny Whitten (guitar and vocals). After rehearsals, it was
obvious that Danny Whitten was in no condition to tour, as Whitten was in the
midst of trying to kick a heroin addiction by substituting large quantities of
other drugs in its place. He was fired from the band, and given an airline
ticket home and fifty dollars. A day later Whitten was dead of an overdose,
having used the severance money to buy the drugs that killed him. The start
of the tour was right around the corner, so Young and company made the
difficult decision to continue as planned. In early January, the band took to
the road for a three-month trip that was scheduled to visit over sixty cities.
Audiences were treated to a show that featured an opening solo acoustic set
followed by a rock set from the band. The material was drawn mainly from
After the Goldrush and Harvest, along with a smattering of older songs and a
batch of new songs. Part way into the tour Young's voice began to give out.
Without the vocal support of Whitten, he was forced to carry more of the vocal
chores than ever before. As the strain of the road and the grief of Whitten's
death began to catch up to Young, the shows became more and more ragged and
raw. In addition to everything else, the road crew tried to negotiate for
more money midway through - the temptation of seeing full arenas every night
must have proved too great. A brief break halfway through provided a chance
for Young to regroup; it was obvious that if the tour was to continue,
something needed to be done. Young called up his friends David Crosby and
Graham Nash for help, and they came onboard for the last month of the tour as
backup vocalists and rhythm guitarists. An additional change in the band
lineup was the replacement of drummer Kenny Buttrey with Johnny Barbata, the
CSN&Y tour drummer. Buttrey dropped out during the break because the
atmosphere was too much for him.
The bulk of Time Fades Away was recorded during this last leg of the tour, in
the western United States. Like the live sets, the album features a mix of
understated acoustic work and raw, urgent electric tunes. The new songs
included those that would appear on Time Fades Away, some that would appear on
Tonight's the Night ("Borrowed Tune," "New Mama," and "Look Out Joe") and some
that have yet to appear on any album ("Lonely Weekend" and "Sweet Joni.") The
three acoustic tunes are "Journey Through the Past," "Love In Mind," and "The
Bridge." Two of these songs are older numbers not written for this tour.
"Journey Through the Past" was a staple of the 1971 live performances, and the
version here was recorded during the first part of the 1973 tour, unlike all
the other 1973 material. "Love In Mind" was recorded in Los Angeles in
February of 1971, and is presumably included here to balance the more raw
material. The electric numbers ("Time Fades Away," "Yonder Stands the
Sinner," "LA," "Don't Be Denied," and "Last Dance") have an energy unlike
anything else Young had recorded before. The main reason for this is the
steel guitar playing of Ben Keith, who assumes Whitten's role as the main
musical foil for Young's guitar work. Unlike the Harvest material, in which
Keith mainly provides an atmosphere, his playing is sharp, biting and urgent.
It dramatically complements Young's wrenching, staccato playing, especially on
the album's closer, "Last Dance." This album is an honest document of a very
difficult period in Neil Young's life, both in musical and personal terms.
The descent into darkness continued during the sessions for Tonight's the
Night, which started soon after this album was assembled and mastered. The
safe thing would have been not to release these songs at all and let the tour
diminish into memory. Luckily, Neil Young has never done the safe thing.
ON THE BEACH
1974 - Reprise 2180
Walk On / See the Sky About to Rain / Revolution Blues / For the Turnstiles /
Vampire Blues / On the Beach / Motion Pictures (for Carrie) / Ambulance Blues
by Sam Tennent
stennent@hpqtdya.sqf.hp.com
On the Beach is perhaps the most personal record Neil Young will ever make.
It chronicles his emergence from a deep depression, caused in part by the
critical reaction to his post-Harvest artistic output. It is also a statement
of intent, which Young has stuck to throughout his career, that he will make
and release whatever music he feels like, with no compromise to commercial
considerations. This was a brave choice to make in 1974, when all of Neil's
musical contemporaries were urging him to make a "real" album - that is, to
hire a bunch of top notch session men and make Harvest II. Neil could have
easily done this. Listening to the material he was writing around this time,
songs like "Traces" and "Separate Ways," Harvest II would have been no
problem. Instead, Neil gave us a look into his REAL feelings and made some
remarkable music. Young had written about the pressures of fame during his
Buffalo Springfield days, with songs like "Out of My Mind" and "Mr Soul,"
however On the Beach sees an older and wiser Young coming to terms with the
pressures, rather than allowing them to overcome him. Almost every song
addresses these themes and gives Young's response. In "Walk On," Young
addresses his critics with the line:
"They go their way, I'll go mine"
thus setting the agenda for the next twenty years of his musical career. In
"Ambulance Blues" he is even more direct:
"All you critics sit alone / You're no better than me for what you've shown"
The title of the LP refers to Young's having "made it," but the songs reflect
the double-edged nature of fame. Perhaps the most revealing line on the
record is on the title track, where Young sings:
"Now I'm livin out here on the beach / But those seagulls are still out
of reach"
Elsewhere, his feelings about fame are shown to be even more bitter. He says
of the showbiz crowd (in "Motion Pictures"):
"All those people, they think they've got it made / But I wouldn't buy
sell borrow or trade anything I have to be like one of them / I'd rather
start all over again"
The lyrical content of On the Beach has been meticulously examined and
analyzed over the years, whereas the musical content has received relatively
little attention. This is an injustice, because this music is some of the
best that Young has ever produced. In fact, if one examines the critiques of
Young's music throughout his career, there has been relatively little analysis
of the sound quality of the records, as critics tend to concentrate on the
lyrics or musical styles employed. Hence in the eighties Young was accused of
excessive genre hopping by critics who failed to recognize that he has rarely
made two records that sound alike. For example, Neil's first six solo records
sound vastly different from each other.
Side one begins with "Walk On," a bright, up-tempo number, which is propelled
along by a shuffling beat from the Crazy Horse rhythm section, and reflects
the progression suggested in the lyrics. Next, Young chose to include an old
song, "See the Sky About to Rain." Some reviewers have suggested that it is
an attempt at irony on Young's part to include a prime example of his "downer"
songs here, after the sentiments expressed in "Walk On," but it's just a great
song with a magical chord progression change at the last verse and superb
drumming from Levon Helm. It is followed by "Revolution Blues," a song
inspired by Young's meetings with Manson. One can almost hear the 10,000,000
dune buggies coming down the mountain as the song rolls along with the Band's
Levon Helm and Rick Danko in the engine room, and David Crosby supplying manic
rhythm guitar. The pace then quiets down with "For the Turnstiles," a song
almost in the folk style, with Young singing falsetto accompanied by banjo and
Ben Keith on dobro. What other major artist during the seventies would have
chosen to sing a song that strained their vocal range as much as this? And
yet this gives the song its power and makes for compulsive listening. The
first side ends with "Vampire Blues," a jokey, standard twelve-bar blues with
a terrific bubbling guitar solo, which perfectly evokes an image of bubbling
oil being "sucked From the Earth." Here Young addresses one of the common
ecological themes found throughout his body of work.
Side two is a whole different ball game. The mood is somber, almost narcotic.
Young has commented that this record was made mostly under the influence of
"honey slides" - a marijuana and honey concoction described by Young onstage
at his Bottom Line show in May 1974. The title track is a beautiful, slow
bluesy song, with a wonderfully understated guitar solo that should come as a
great surprise to those who know Young only through his Ragged Glory period.
This is followed by "Motion Pictures (for Carrie)," a song written on the
road, in which Neil pines for the simplicity of the country life. A
beautiful, meandering chord progression and laid-back harmonica give it a
world-weary sound. The last track on the album, "Ambulance Blues," is among
the best five that Young has ever written. As he later admitted, the melody
in the verses is the same as that in Bert Janch's "Needle of Death," a song
that Young has cited as an early influence. However, the musical
implementation is stunning. With breathy harmonica and genuinely spooky
fiddle playing from Rusty Kershaw, the track has a rootless, floating feel,
leaving the lyrics as the focus of the listener's attention. On the Beach is
special to me, as it was the first Neil Young album that I bought at the time
of its release. I had gotten into Neil's music in early '74, and had acquired
all of his earlier records by the time On the Beach came out. I still
listen to it, twenty years later, more than either After the Goldrush or
Harvest. I guess this is because the record is so musically interesting.
It's full of spontaneous performances and first-take errors, which were left
on because their feel is right. It doesn't have the life produced out of it,
like, dare I say, Harvest Moon or Landing on Water. For me, this was summed
up in my favorite moment on the whole record, in which Neil catches his thumb
/ pick on the bottom E-string during "Ambulance Blues." The note booms out
over the line:
"Where men STUB their toes on garbage pails!"
It's just perfect.
TONIGHT'S THE NIGHT
1975 - Reprise MS 2221
Tonight's the Night / Speakin' Out / World on a String / Borrowed Tune /
Come on Everybody Let's Go Downtown / Mellow My Mind / Roll Another Number /
Albuquerque / New Mama / Lookout Joe / Tired Eyes / Tonight's the Night
by Damon Ogden
60053@ibmmail.com
Tonight's the Night is like an OD letter - the whole thing is about life,
dope, and death. "I probably feel this album more than anything else I've
ever done," said Neil Young in Rolling Stone (August 14, 1975). I also feel
this album - more than any other Neil Young album, or any album ever -
completely captures the essence of what I believe makes Neil Young such a
great artist: His ability to put his mood, his beliefs, and himself into his
work. Following Neil's work is a roller-coaster ride, and Tonight's the
Night is both the low point and the high point all rolled into one confused,
angry, sad, but brilliant piece. This album is not pretty, and undoubtedly
would not be the first album you're going to pull out for a friend interested
in hearing Neil for the first time, unless maybe you and your friend are
drunk. TTN was inspired by Bruce Berry, a longtime roadie, and Danny Whitten
of Crazy Horse, who both died of drug overdoses. It was recorded over two
years before its release in mid-1975, but was shelved in favor of On the
Beach. In 1975, Neil was playing his next album, Homegrown, for friends and
TTN followed on the reel. Neil decided TTN was better than the
still-unreleased Homegrown, and it was released instead. The album was
sequenced by Elliot Roberts, with three tracks, "Lookout Joe," "Borrowed
Tune," and "Come on Baby Let's Go Downtown" (recorded in 1970 with Whitten
signing lead) added to the original nine songs. This album is raw, ragged,
and powerful music. Every listener will have a different experience based
upon their tastes and state of mind at the time of listening. TTN is a must
for any collector of Neil Young albums.
ZUMA
1975 - Reprise MS 2242
Don't Cry No Tears / Danger Bird / Pardon My Heart / Lookin' for a Love /
Barstool Blues / Stupid Girl / Drive Back / Cortez the Killer / Through
My Sails
by Jeff Dove
jeffdove@well.sf.ca.us
"If I could hold on to just one thought for long enough to know / Why my
mind is moving so fast and the conversation is slow"
- from "Barstool Blues"
Zuma is the first record with the current and long-standing version of Crazy
Horse (Billy Talbot - bass, Ralph Molina - drums, and Frank Sampedro -
guitar). The record's sound is laid out in a way that places it on a
continuum that includes Rust Never Sleeps, Live Rust, Re-ac-tor, Ragged Glory,
and Weld in the future (as well as a few selected cuts here and there on other
albums, most notably "Like a Hurricane" from American Stars 'n' Bars). With
Poncho joining Neil on guitar, the band developed a style that I believe
allowed him to create his best music over the years. Previous Crazy Horse
collaborations had power, but Zuma is the beginning of the balance of raw
playing and a clean sound, featuring a perfectly balanced interplay between
the two guitars. Similar to Big Star in the early seventies or Television in
the late seventies, there is an amplified noise which doesn't let up on the
energy, but is not overwhelming or excessive. The previous Neil Young and
Crazy Horse collaboration, Everybody Knows This Is Nowhere, from the early
solo days, featured Danny Whitten's playing, but Whitten's death brought about
a six-year hiatus in the Horse's appearances as Young's backing band on a
complete record. Zuma signals their return, and this record introduces the
sound that gives Neil his "Godfather of Grunge" title. If Zuma has a lyrical
theme, it is one of romantic rejection, loneliness, hope, and despair. From
song to song, it seems to have been written by a man who has just been dumped,
and might even be still harboring a bit of hostility; but on the other hand,
he longs for a return to what he once had. The opening two high-energy songs
set this theme. From the musically upbeat "Don't Cry No Tears":
"Well I wonder who's with her tonight / And I wonder who's holding
her tight / But there's nothing I can say, to make him go away..."
"Danger Bird" isn't as abrupt in its words, but it is a heavy, searing tune
with an anguished tone to both the vocals and the guitar solos that continues
the emotion without putting it into words. Not every track is a full-on
electric work out, and side one takes a respite from this, in varying degrees,
with its third and fourth tracks. "Pardon My Heart" finds Neil with his
acoustic, and its plea is one of the most straightforward:
"Pardon my heart if I show that I care / But I love you more than moments,
we have or have not shared"
"Lookin' for a Love" presents a return to the electric guitar, but the
distortion is down and the country-rock beat is up. Again, the lyrical theme
of the album is pursued:
"I've been lookin' for a lover but I haven't met her yet..."
And then, the telling chorus:
"Lookin' for a love that's right for me / I don't know how long its gonna
be / But I hope I treat her kind, and don't mess with her mind, when she
starts to see the darker side of me"
It's a fatalistic response to the earlier, "Is it strange I should change I
don't know, why don't you ask her" line from the Buffalo Springfield song "Mr.
Soul." "Barstool Blues" kicks side one back into high gear. It is a raging
rocker, littered with wry observations and clever comments like the quote
which began this review, and is Zuma's best song. More relationship-based
angst can be found in the verse, such as:
"He trusted in a woman, and on her he made his bet"
And then:
"And I saw you in my nightmares, but I'll see you in my dreams / And I
might live a thousand years before I know what that means"
The second side begins much as the first did, with some loud Crazy Horse
intensity. However both "Stupid Girl" and "Drive Back" are centered less
around longing and are more bitter and angry. The title to "Stupid Girl" tips
off its message. When the Stones used this title on Aftermath for a different
song, it was to dismiss a woman for her superficiality and justified one of
Jagger's misogynist poses. Neil's song seems based on a more personal
disgust. On a musical level, listen as Neil harmonizes with himself on some
verses, singing in both his more usual voice and in the higher tone he
utilizes on occasion. "Drive Back" is one of the album's hardest rockers, and
accompanying its guitar attack are more words of angry dismissal:
"Drive back to your old town / I want to wake up with no one around"
The familiar "Cortez the Killer" continues the sound that has been prevalent
over the course of Zuma. Neil's and Poncho's guitars play off of each other
in an intricate and exciting manner. The music builds from subtle beauty
through an extended instrumental intro, to become more amplified and intense
as the song's story of the bloody aftermath of the arrival of imperialist
conquerors becomes more intense. The theme of "Cortez" is obviously quite
distinct from that which Zuma has been occupied with up to this point, but
stuck into a refrain and the end of the song can be found these seemingly
unrelated lines:
"And I know she's living there, and she loves me to this day / I still
can't remember when, or how I lost my way"
"Through My Sails" is a knock-off with Crosby, Stills, Nash and their acoustic
guitars. It's only average and, compared to the rest of the album, is a bit
of a let down. Neil was probably throwing a bone to the trio, who by this
time had already demonstrated their lack of any ability to create anything
worthwhile without Young along for the ride. If you're partial to the harder
edge of Neil Young's music, Zuma is an important stage in his development; if
your tastes run toward the sounds of loud electric guitars zealously playing
off of each other, then it is essential.
AMERICAN STARS 'N' BARS
1977 - Reprise MSK 2261
The Old Country Waltz / Saddle up the Palomino / Hey Babe / Hold Back
the Tears / Bite the Bullet / Star of Bethlehem / Will to Love / Like a
Hurricane / Homegrown
by Stephen J. Chant
schant@moose.uvm.edu
All of Neil's fans should own American Stars 'n' Bars, if only for the seminal
November '75, 8:14 minute "Like a Hurricane." AS'n'B is one of Neil's
scattershot albums, in which he explores a variety of themes, including rock,
country, ballad, even the waltz. Side one is performed by Neil, Crazy Horse,
and the Bullets. The Bullets (a humorous, oblique reference to the clitoris)
are Linda Ronstadt, Nicolette Larson and Carole Mayedo. Opening with the
rural-paced "The Old Country Waltz" and "Saddle Up the Palomino," Neil then
delivers a one-two-three roundhouse of excellent, romantically inspired songs
with the warm "Hey Babe," the hot "Hold Back the Tears," and the blistering
"Bite the Bullet." Side Two is a total mishmash. Neil picks up a group that
includes Emmylou Harris, Ben Keith, Tim Drummond and Karl Himmel for "Star of
Bethlehem," then goes solo for "Will to Love," before joining up with the
Horse for two classics, a raging "Hurricane" and a laconic and lovable
"Homegrown." AS'n'B remains one of my favorite albums, even after fifteen
years. Neil demonstrates versatility and unpredictability in a very laid-back
atmosphere, much like a favorite bar or back porch. At the very least, this
is an album that should've warned David Geffen that in Neil Young, he wasn't
getting a commodity driven by commercial success.
COMES A TIME
1978 - Reprise MSK 2266
Goin' Back / Comes a Time / Look Out for My Love / Lotta Love / Peace of
Mind / Human Highway / Already One / Field of Opportunity / Motorcycle
Mama / Four Strong Winds
by Crazy Donkey (aka Rob Blackmore)
rblckmor@vax1.tcd.ie
Comes A Time, produced by Neil Young, Ben Keith, Tim Mulligan and David
Briggs, is regarded by some as a comeback to folk music for Neil Young, more
in the style of Harvest and After the Goldrush. Originally, the album was
going to be called Ode to the Wind, and several copies were pressed with that
name. There are ten tracks on the album, five on each side. All of the
selections are written by Neil Young, except for the tenth track, "Four Strong
Winds," which is a cover version of an Ian Tyson song. A wide variety of
musicians play on the album, and Nicolette Larson sings the backing vocals.
Crazy Horse plays on "Look Out For My Love" and "Lotta Love," with J.J. Cale
on electric guitar. "Goin' Back" is one of my favorite tracks on the album.
It's a peaceful song, expressing a wish to return to the past, back to a more
simple time when "fire filled the sky" and where there was "nowhere to stay."
It also mentions a relationship splitting apart, which is possibly a central
theme to the album. The mixture of guitar sounds works very well, and Neil's
voice and the backing vocals of Nicolette Larson combine beautifully. The
imagery is quite geological to begin with, something Neil has touched on in
other songs, "Thrasher," from "Rust Never Sleeps," for example. The song
ends, however, in the city, where the shadows of the buildings "tore us apart,
and now we do what we do." Comes A Time opens with some great fiddling, which
blends well with the guitar. Neil's voice is quite lonesome, and the backing
vocals are perfect, just being audible on the edges. The imagery is again
very earthy, and the song seems to describe how time keeps passing by. The
idea of the earth spinning round, and "It's a wonder tall trees ain't layin'
down," is typical of Neil's ability to paint a picture with a few words.
"Look Out For My Love" is probably my favorite track on the album. Recently,
it was performed brilliantly for the Unplugged show, and it was hardly altered
because the set-up is so perfect! The crisp combination of guitars superbly
complements Neil's voice, which is pitched spot-on. The electric guitar,
which comes in at "hydraulic wipers pumping," just makes it for me - it's
heavenly! The whole description of the airport and traffic is classic; what
more can I say! "Lotta Love" is the next track on my tape, slightly out of
place with the sleeve order. There's some nice piano and high pitched
percussion work. It appears to be saying that it takes a lotta love to keep
people together. There's a wish for the right person / lover to "show up
soon." "Peace Of Mind" has an interesting beat, sort of like a ticking clock.
It describes how it takes a long time to get to know someone and to let them
get to know you. "It's hard to face that open space" is a sort of warning
that if you leave, you won't have "peace of mind," and that's probably the
best thing to go for. The electric guitar at the end adds to the drum beat.
The second side of the album opens with "Human Highway." This is more in the
style of the first two tracks of side one, with plenty of earthy imagery. It
also speaks, however, about people being unkind, and maybe talking about you
and your life behind your back. The backing vocals once again add to this
song. "Already One" always makes me feel a little sad. It's about splitting
up with someone, but being forever attached to them through a child, in this
case a little son. It's got a slow, lonely beat, and the guitar at the end is
great. Once again Neil uses words and phrases that have so much feeling, as
in:
"In my new life, I'm traveling light / Eyes wide open for the next move"
"Field Of Opportunity" livens things up. There's a nice blend of fiddle, and
acoustic and electric guitar; the strumming keeps the beat. The song talks
about moving on, new growth, and new love; everyone makes mistakes but you
just have to keep trying. "Motorcycle Mama" was apparently written by Neil
after watching a woman fall off her barstool in Florida, but I don't know how
reliable that is. This is certainly the most electric song on the album, and
it keeps the country feel with a mean piece of fiddling. Nicolette Larson's
vocals are very much the dominant force of this song. It sort of follows the
"moving on" theme, with:
"I just escaped from the memory-county jail."
The album finishes with a cover version of the Ian Tyson song "Four Strong
Winds." It's a fairly lively version, and the lyrics fit with the other
songs. Neil's voice is perfect, and again the set-up works well. I really
like this album. I find the mixture of acoustic and electric guitar with the
fiddle to be really pleasant to listen to. The songs are sometimes fairly
lonesome, but usually there is a balance. As usual, the subject matter would
appear to reflect Neil's personal life, but as with so many of his songs, the
problems are of a human nature that everyone can relate to.
RUST NEVER SLEEPS
1979 - Reprise HS 2295
My My, Hey Hey (Out of the Blue) / Thrasher / Ride My Llama / Pocahontas /
Sail Away / Powderfinger / Welfare Mothers / Sedan Delivery / Hey Hey,
My My (Into the Black)
by Richard Dubourg
uctpa08@ucl.ac.uk
Just recently, some people have started to say that they never really could
understand the connection made between grunge and Neil Young, and between
grunge and Rust Never Sleeps in particular. Don't listen to them, as this is
seminal, and all the more astounding for having been recorded over fifteen
years ago (with many of the songs older than that). The all-pervading theme
of the album is one of change, and of what becomes of those who try to resist
it. Hence, the boy who stands to fight the anonymous invaders, ignoring his
father's advice ("Red means run, son, numbers add up to nothing") gets a
bullet in the head for his pains ("Powderfinger"); the alien who says, "It's
old but is good" is nothing but a "primitive" ("Ride My Llama"); even the now
infamous line, "It's better to burn out than to fade away" is more an
exhortation to accept, and if possible to adapt to, change rather than resist
it and become obsolete ("Out of the Blue [Into the Black]"). Rust Never
Sleeps is an album borne of the decade that saw Vietnam, environmental
disasters, and other events of global change, and ends up being one of the
most direct and coherent statements about the punk movement ever put to vinyl.
"This is the story of Johnny Rotten," Young sings, and you know he sees Rotten
as the ambassador to an irresistible driving force in popular music at the
time. This only serves to reinforce the grunge connection, with that later
(and almost exclusively North American) phenomenon being a fruitful (if
somewhat overdue) offspring of the union between punk and rock music. You can
be sure that Young wasn't intending to "fade away" from "I'll know the time
has come to give what's mine" ("Thrasher"). But don't think this is just a
grunge album, as it has all of the Young trademarks: the distorted guitar, the
country influence, and good ol' rock'n'roll. But all of it, even the acoustic
first side, has a hard edge. There are not many albums which sound as fresh
and relevant today as when they were first recorded. Rust Never Sleeps is
one, and deserves to be in everyone's collection.
LIVE RUST
1979 - Reprise 2296
Sugar Mountain / I Am a Child / Comes a Time / After the Goldrush / My My,
Hey Hey (Out of the Blue) / When You Dance I Can Really Love / The Loner /
The Needle and the Damage Done / Lotta Love / Sedan Delivery / Powderfinger /
Cortez the Killer / Cinnamon Girl / Like A Hurricane / Hey Hey, My My
(Into the Black) / Tonight's The Night
by Joost Groen
joost@klft.tn.tudelft.nl
Live Rust was released by Reprise in 1979, only a few months after Rust Never
Sleeps saw daylight. It is a record of Neil's 1978 North American Rust Never
Sleeps tour, with Crazy Horse in its strongest line-up (Poncho, Billy Talbot
and Ralph Molina,) and was primarily released as a soundtrack to the tour's
filmed documentary. The set list of Live Rust comprises a good overview of
Neil's work thus far. The show can be more or less subdivided into two parts
(as is usual in a lot of Neil's concerts), an acoustic and electric. Live
Rust immediately starts off with one of the highlights, a very clear guitar
and Neil's singing what's famously known as the song he wrote on his 19th
birthday, "Sugar Mountain." The ending, with Neil singing the last stanza in
a kind of desperate way with the help of his harmonica, really strikes at the
heart. After this emotional song, the somewhat hurriedly played "I Am A
Child" comes as a kind of an anticlimax - I think this song deserves more.
But then, "Comes a Time" is great. I'm prejudiced toward this song, since my
friend Marc and I used it as the theme of the party for our graduation from
University. These first three songs have the same theme - a loss of childhood
and innocence. "After the Gold Rush" is alright, but "My My, Hey Hey" is kind
of impoverished. Although the audience appreciates Neil's dedication to
Johnny Rotten (shouted out), within this line-up the usual emotionality of
this song, telling of the first indications of maturing after an innocent
childhood, does not come out clear enough. With "When You Dance I Can Really
Love" bursting from your stereo set, things are alright again. Now this is
emotion, this is how being in love feels! The power emerging from this song
is incredible. "The Loner" is, again, somewhat hastily played, and therefore
loses some of its power. The thunderstorm and rain at the end of "The Loner"
("my guitar! - no rain!") is a nice relaxation point in an altogether exciting
show, and Neil's emerging from the rain acoustically with "The Needle and the
Damage Done" gives the song a good setting - the junkie in the gutter and in
the rain. "Lotta Love" is played better than the original, in my opinion,
especially the background vocals, which contribute to a sweet but intense
song. It maybe should've been performed earlier in the set, however.
With "Sedan Delivery," Neil and the Horse switch to electric - definitively. I
don't like this version of "Sedan Delivery," as it's too noisy and you can
hardly hear Neil's singing. That's a pity, but then the sequence
"Powderfinger" - "Cortez The Killer" - "Cinnamon Girl" - "Like A Hurricane"
produces one hell of a lot of energy. A very powerful "Powderfinger" again
describes the difficulties one encounters in maturing:
"I just turned 22 / I was wondering what to do"
"Cortez the Killer" is played slowly, in the way that it should be. The
reggae-ish ending of the song is famous and makes you smile. "Cinnamon Girl"
is still one of my early Neil favorites, but the version on Live Rust has a
strange spectral distribution (lots of treble, too low on bass). I've heard
Neil do better versions of "Like A Hurricane," as well. Well, the song was
still pretty young then, and it has certainly since developed. The encores of
"Hey Hey, My My" and "Tonight's the Night" are both played in a very
distorted, heavy, black style. I love them that way, but they make for a
strange appearance on an otherwise quite clear album. However, their symbolic
value - of decline setting in - serves the "story" of this concert well; in
this way, the concert ends in some kind of black hole through which we all
eventually have to crawl. The line-up of the songs on Live Rust suggests a
story of growing maturity. From childhood in the first couple of songs, to
death (in this case of someone in your vicinity) at the end. Some critics
claim that Live Rust doesn't really add anything to Neil's oeuvre, especially
since it came out only two years after Decade, and nine of the songs on Live
Rust are on Decade as well. I think the power of Live Rust is the fact that
it is live. It takes you on a 74'01" minute journey through the past.
HAWKS AND DOVES
1980 - Reprise HS 2297
Little Wing / The Old Homestead / Lost in Space / Captain Kennedy / Stayin'
Power / Coastline / Union Man / Comin' Apart at Every Nail / Hawks and Doves
by Jeff Connelly
jeffc27553@aol.com
Of his popular hit "Heart of Gold," Neil Young wrote, "This song put me in
the middle of the road. Traveling there soon became a bore so I
headed for
the ditch; a rougher ride, but I saw more interesting people there." The
same can be said for Hawks and Doves, Neil Young's first album following his
phenomenally successful Rust tour. He heads straight for the metaphoric
ditch, following his muse rather than striving for commercial success. This
album is the first in his string of eclectic, experimental (self-indulgent?
- you be the judge) eighties records. Side one has a spare, at times eerie
sound. Unusual for a Neil Young album, the first track, "Little Wing," is
practically a throwaway; perhaps it leads off so the album doesn't start
overly dark. (Yeah, I know, you've got three words for me: Tonight's the
Night). "The Old Homestead" dates back to 1974. Neil will often hold onto
a song until he feels the time is right to release it, and it is the only
track on the side with instruments other than Neil's guitar and harmonica.
The song has a ghostly, Band-like feel to it, helped by the presence of Band
drummer Levon Helm. The darkness of "Homestead" is countered by the
relative whimsy of "Lost in Space" (featuring a guest vocal by a Marine
Munchkin). The side ends with "Captain Kennedy," which lyrically would fit
on a Tom Waits album, and both lyrically and musically evokes an image of
Neil singing in a candlelit room with people lying about, smoking grass, and
staring up at the flickering ceiling. Side two, in contrast, has a bright,
country flavor and a full band. The omnipresent fiddle player would
later tour with Neil in the International Harvesters. Most importantly,
Neil sounds like he's having a lot of fun. Lyrically, the songs are much
more direct - "Stayin' Power" and "Coastline" are love songs, while "Union
Man" and "Comin' Apart at Every Nail" are more political, though the most
pressing matter at the meeting in "Union Man" is the issuance of "Live Music
Is Better" bumper stickers. Hey, first things first. The album ends with
Hawks and Doves, which today Neil probably couldn't sing without making it
ironic. (We'll ignore for the moment that he is originally from Canada).
It's a burst of hey-we're-in-the-greatest-country-in-the world patriotism,
right in tune with the beginning of the Reagan Era. Though I'm not a
patriot in the classic sense (I prefer to think of myself as a Biafran
neo-patriot), the song never fails to pick me up and make me smile. Had it
been issued as a single and successful, it probably would stand today as a
popular patriotic country anthem for those who find Lee Greenwood boring.
RE*AC*TOR
1981 - Reprise HS 2304
Opera Star / Surfer Joe and Moe the Sleaze / T-Bone / Get Back on It /
Southern Pacific / Motor City / Rapid Transit / Shots
by Jack "Shakey" Mullins
j.mullins1@genie.geis.com
In 1979, Neil Young released Rust Never Sleeps, and side two of that album
proved that he could dish out punk with the best of them. Then after an odd
(but good) 1980 album Hawks and Doves, Neil followed up his punk effort with
even rougher rock-and-roll. The outcome was Re*Ac*Tor. This 1981 album, with
Crazy Horse, features some of the finest and rawest (not to mention
overlooked) music of Neil Young's career; this album is a prerequisite to
Grunge 101. Side one opens with "Opera Star," and reveals what would be in
the future musically, with synthesizers quite up-front in the mix. It's
uncompromising nonetheless, and the lyrics sting: "So you stay out all night
getting fucked-up in that rock-and-roll bar," Neil sings. Following this,
"Surfer Joe and Moe the Sleaze," might remind one, thematically, of a heavier
version of Three Dog Night's (or Randy Neman's -JF) "Mama Told Me Not to
Come." The next song wasn't even meant to be recorded, apparently, but wound
up so because Neil and the Horse still felt like playing after they recorded
the album. Nine-plus minutes of Neil playing wildly falanged guitar solos and
repeating "Got mashed Potatoes, ain't got no T-Bone." This would be a show
stopper if Neil ever took this song on tour! The side closes with "Get Back
On It," a very jumpy tune, like "Are You Ready for the Country" with no steel
and a grunge backbeat. It has a tough spot on the LP following the first
three songs! Side two begins with what is probably the most accessible song
on the album, "Southern Pacific," a rolling three-chord rocker about forced
retirement - just like a Springsteen song, only with balls. The pretty hokey
(but amusing) "Motor City" follows, and demonstrates how varied a Neil Young
album can be from song to song. "Rapid Transit," along with the first three
songs, would create the most perfect album side of all time - a very crunchy
trip through power-chords, and Neil's stammering, which would offend some
people. It's classic Neil, and almost a one note guitar solo again as well!
"Shots" closes the album, and it takes on a completely different form than
when Neil presented it in concert three years before, much as how the electric
version of "Cowgirl in the Sand" compares to the Four Way Street version. But
this song is much more sloppy and rough than "Cowgirl," which in fact sounds
tame by comparison. Listening to one song at a time does not do justice here,
folks. The album on a whole is a classic, and sadly it's a very underrated
one. The forthcoming CD release of Re*Ac*Tor will hopefully give it another
chance to be noticed, and I think it will be well received by people hearing
it for the first time, since the roots of grunge show so clearly.
TRANS
1982 - Geffen GHS 2018
Little Thing Called Love / If You Got Love / Computer Age / We R in Control /
Transformer Man / Computer Cowboy (aka Syscrusher) / Hold on to Your Love /
Sample and Hold / Mr. Soul / Like an Inca
by Jeff Dove
jeffdove@well.sf.ca.us
As either a description of the transformation to a techno-Orwellian society or
as a method of communication with a special child, Trans could not be created
from the traditional approaches of solo, acoustic rock (Comes a Time, Rust
Never Sleeps, Hawks and Doves) or fuzzed out, dueling guitar, electric rock
(Rust Never Sleeps, Re-ac-tor) that Neil Young worked with over the previous
four years. Trans required a new methodology. The core of this record
features Neil contributing synthesized rhythms through the use of a
Synclavier, and distorting his voice through a device called a Vocoder, to
create a distant, metallic, robotic sound. It has been reported that the use
of this gadgetry was borne from Young's attempts to reach his cerebral palsy
afflicted son, but what emerged is a bit of negative science fiction about
society's transistion to the computer age. The five central tracks, "Computer
Age," "We R in Control," "Transformer Man," "Computer Cowboy (aka
Syscrusher)," and "Sample and Hold," tell of a cold and mechanical society.
"Computer Age" is a plea for warmth and humanity, while "We R in Control"
spells out a technological anti-Utopia:
"We control The data banks /
We control The think tanks /
We control The flow of air"
As its title suggests, "Computer Cowboy (aka Syscrusher)" updates the
mythology of the old west maverick to a modern electronic rebel. "Sample and
Hold" describes a commercial venture that can provide a "unit" for a wanting
man, made completely to the height, weight, skin and eye color, and other
specifications of his desire. The song's protagonist, through Neil's vocals,
requests not "the angry one" or "the lonely one" but "a new design - new
design." "Transformer Man" is the key song, as it takes the idea of new
technologies directly to the inspiration for this record, as the transformer
man is Young's son:
"Direct the action with the push of a button..."
"Let us throw off the chains that / Hold you down"
The overall message is one of the mechanization of mankind, and this is
symbolized by the cover art. On the front a hippie with bongos thumbs a ride
into the horizon (and into the album itself) from a convertible Chevy on a
tree-lined road, while his counterpart on the other side of the street is an
automaton making the return trip by hitching a space car traveling through the
brave new world. The transition from one state to the next is described
within the record, which is the unseen point in the distance. The back cover
sums up the state of this future with a drawing of a human heart peeled open
to reveal its transistor and microchip interior. The album is not completely
techno, however, and these theme songs back their synthesized sounds with real
guitars, bass, and drums - the beat is there. "Computer Cowboy (aka
Syscrusher)" has a pretty raw guitar lead running through it, and "Sample and
Hold" straight-out rocks through all of its weirdness. These five tracks
weren't enough for an album, and thus Trans is filled out with two interesting
pairs of songs. "Hold on to Your Love" and "Mr. Soul" maintain the sonic
effect described above, although the former drops the Vocoder and presents an
older, simple love song with the new style of music. "Mr. Soul" is the
classic, given the complete futuristic treatment with distorted vocals and
all. "Little Thing Called Love" and "Like an Inca" have a traditional sound
to them. Each has none of the Kraftwerkesque effects, but are still somewhat
unique when stacked up against the whole of Young's work. They seem to be the
products of the same session, as each has a similar make-up. Though they
employ a full rock band, the subtle electric lead guitar, strumming acoustic
rhythm guitar, understated bass and drums, and calm singing don't sound like a
lot else of what Neil does when he goes electric. They begin and end Trans,
and I suspect that they had been in the can, not really fitting on previous
records. With the need for more material for this record and a desire
(however unsuccessful) not to completely alienate the new label (Geffen),
Trans was seen as a good place to pull them out. "If You Got Love" is a
phantom track (at least on my LP). It's listed on the jacket and the sleeve
(with lyrics) but isn't on the disk.
That Trans is Neil Young's first release for Geffen is also of interest. It
is doubtful that he was intentionally trying to deliver uncommercial product,
but likely that the record is just the result what he felt at the time.
Dedicated Neil fans know that this is not unprecedented - just look back to
Journey Through the Past. Geffen, however, wanted a big payoff from their new
artist and probably were hoping for Harvest II. There have been several
accounts of the label's initial rejection of Trans and the subsequent struggle
to get it out. In 1994, we are well aware of the strange turns Neil's music
can take, with Everybody's Rockin', Landing on Water, This Note's for You, and
even Trans behind us. However, in 1982 the listening public wasn't prepared
for these sounds, at a time when "new-wave and punk sucks" was the mantra of
the FM rock stations who were fighting with everything they had to dismiss
rock-and-rollers like the Ramones and the Clash as worthless. If you can
accept the mechanical vocals you'll find some great, solid rock sounds behind
them. All of Crazy Horse are involved (they are probably the band on "Little
Thing Called Love" and "Like an Inca," although the liner notes don't break
down musicians by song), as well as Nils Lofgren, and regular Young
contributors Ben Keith and Bruce Palmer. Trans doesn't seem intended as a
swipe at Geffen, but the bad blood between artist and label started with it,
and led to the giant FU that is the next record, Everybody's Rockin'. At a
time (1983) when the fad was a rockabilly revival (with the fluff of the Stray
Cats leading the way), Neil probably wanted to put Geffen off and show the
youngsters how it's done at the same time. How else can you explain an album
that is just over twenty minutes long and is completely detached in style from
any of his recorded work that came before? The tour that followed Trans was
also an interesting experience. It was mostly a solo acoustic event, with
Neil shifting between upright piano, grand piano, and acoustic guitar, until
the encore. At that point in the show he emerged, complete with futuristic
shades, behind his synth and with Vocoder in place to deliver a trio of songs
from the record, including "Transformer Man" and "Mr. Soul."
EVERYBODY'S ROCKIN'
1983 - Geffen GHS 4013
Betty Lou's Got a New Pair of Shoes / Rainin' In My Heart / Payola Blues /
Wonderin' / Kinda Fonda Wanda / Jellyroll Man / Bright Lights, Big City /
Cry, Cry, Cry / Mystery Train / Everybody's Rockin'
by Jyrki Kimmel
kimmel@cortex.sai.vtt.fi
As much has been said about Neil Young and his relationship with Geffen in the
1980's, this review focuses only on the record Everybody's Rockin'. A history
of listening to Neil Young, however, brings a personal bias to the article.
The album consists of five rock-and-roll standards as well as five songs by
Young (two of them with co-authors). In all, the tone is that of great
nostalgia, and the standards are recorded with care and original spirit. At
the same time, humor is not forgotten, as is shown in the opening "Betty Lou's
Got a New Pair of Shoes," a childish play on rhymes, and "Kinda Fonda Wanda,"
as in its lyric:
"...'cause Wanda always wanna wanna wanna..."
Another play on words, or rather imagery, is "Jellyroll Man," with obvious
references to sex:
"I gotta have it right now "
But maybe I just see it that way. The album-ending title song is also a
seemingly meaningless rock-and-roll tune, in the vein of "Shakin' All Over,"
"Let's Twist Again," "At the Hop," or any other song proclaiming the birth of
a new way to dance, but with the added topical notion of Ronnie and Nancy,
"rocking in the White House all night long." A more serious effort is "Payola
Blues," a lament of record company payoffs and of radio DJs. "Rainin' In My
Heart" and "Cry, Cry, Cry" go beyond the usual in rock and roll tear-jerker
ballads, and Neil's renditions are superbly true to that spirit in both songs.
The most noteworthy songs, when taken out of context on the album, are
"Wonderin'," a tune Neil wrote and had performed on stage in the seventies,
and covers of "Bright Lights, Big City" and "Mystery Train," both great hits
from their era. "Wonderin'" would be a rocker in any arrangement, and this
version is just perfect. "Bright Lights, Big City" is sang as if Neil
personally is relating a story of a girlfriend lost in metropolitan splendor.
"Mystery Train" also has a personal, emotional feel, and it does not have its
roots in Neil's model railroad hobby. The album clocks in at 24 minutes, over
which the very essence of fifties rock is laid out, turned over, and emptied.
Undoubtedly this is the music Neil grew up with (with the obvious exception of
the personally penned songs), and as such, Everybody's Rockin' is a great
tribute to the roots of rock-and-roll in a time when artists of a "Younger"
generation are crafting tribute albums to the Godfather of Grunge himself.
OLD WAYS
1984 - Geffen GHS 24068
The Wayward Wind / Get Back to the Country / Are There Any More Real
Cowboys? / Once an Angel / Misfits / California Sunset / Old Ways / My Boy /
Bound for Glory / Where Is the Highway Tonight?
by Steve Peck
speck%indycms@uicvm.uic.edu
You can take Neil Young out of the country (like when he tours Europe or
elsewhere), but you can't take the country out of Neil Young. After several
less definitive forays into country-and-western music (such as album sides on
American Stars 'n' Bars and Hawks and Doves), Young finally strapped on the
country harness for real on Old Ways. Backed by a full band, the
International Harvesters, replete with fiddles, pedal steel, and banjos, Neil
managed to make a very solid country record. While it may not be one of his
very best, Old Ways turns out to be an important work nonetheless. On Old
Ways, Neil Young has grown up; he is no longer a young man finger pointing at
the establishment. There is a new found sense of responsibility showing up in
his songs. He attempts to do his part in standing up for the small guy who's
dreams are being dashed, and who is trying to maintain his / her lifestyle,
built on the basic human values of family, love, and hard work. Neil speaks
of these things from the perspective of a man who has learned these lessons.
It is a transformation for Young, and actually is easy to miss when listening
to this laid-back sounding album. This new sensibility is also found in most
of his subsequent work. The main thematic highlights of the album are in "Are
There Any More Real Cowboys?," a song that chronicles the plight of the modern
cowboy / farmer, and "Bound For Glory," a tale of a lonely pickup-truck
driver, a hitchhiking girl, and her dog. The title cut, "Old Ways," has the
author swearing off his evil ways, although he cannot stay straight. Other
memorable moments are "California Sunset," an ode to his state of residence,
"Once An Angel," a slow country ballad with a very traditional setting, and
"My Boy," a touching song for his son. "Misfits" is one of those really weird
Neil Young numbers where you wonder what the hell he is talking about and what
possessed him to write it.
The International Harvesters were a swinging band that added a lot to the
quality of the record, and this is Neil's most realized country effort to
date. One enjoyable aspect of the album is his use of Waylon Jennings for
vocal harmonies. Waylon and Neil's voices blend well together, and Jennings
is one of the best harmonizers around. Willie Nelson shows up to duet on "Are
There Any More Real Cowboys?," adding further to the record's country
credentials. This period of Neil's career is even more significant if you
look past the Old Ways album, and take into account the subsequent
International Harvesters tour, with its performances of several exceptional,
unreleased songs, "Interstate" and "Grey Riders." Two other songs that
further defined Neil's sympathy for the modern farmer, "This Old House" (later
recorded by CSNY) and "Nothing Is Perfect" (still unreleased), fit right into
the themes of Old Ways. The Harvesters proved to be a spectacular live band,
and really shined when given the opportunity to stretch out and jam. Notable
highlights from the tour were smokin' renditions of "Southern Pacific" (with
great fiddling), and an epic version of "Down By the River" where Neil
strapped on the old electric guitar and wailed. Although this record is
generally viewed as one of Young's weird genre pieces from the eighties, it is
actually a pretty traditional album for him, as Neil's music always had a
country edge, even when blasting away with Crazy Horse. Old Ways breaks new
ground in terms of personal expression for Mr. Young, with his acceptance of
his role as a responsible adult. It is also a nice album to listen to when
you are sitting on your porch, doing nothing.
LANDING ON WATER
1986 - Geffen GHS 24109
Weight of the World / Violent Side / Hippie Dream / Bad News Beat / Touch
the Night / People on the Street / Hard Luck Stories / I Got a Problem /
Pressure / Drifter
by Don St. John
donstjohn@aol.com
Somewhere in the mid-eighties, Neil Young began the transition from "guy
making oddball records and being sued by his record company" to "legend and
avatar of post-punk and grunge." If you'd like to know where the changeover
started, check out Landing on Water, his 1986 release and the one Geffen
Records could never justify suing him for. Landing on Water was Neil's return
to a more rocking sound after the various experiments of Trans, Everybody's
Rockin', and Old Ways. It has something in common with these albums; the
record features a stark, metallic sound that has more than a little in common
with the synthesizer-driven Trans. Nobody plays bass on this album; Neil and
cohorts Steve Jordan on drums and Danny Kortchmar on guitars fill the gap with
synths, leaving no bottom end, and thus no warmth to the sound. Jordan's
drums rattle like garbage cans, and Neil employs lots of brittle, feedback
guitar on Old Black, his classic Les Paul. The record's themes touch
continually on alienation ("Touch The Night," "I Got A Problem," "Drifter"),
lost visions ("Hippie Dream"), and the search for control ("Violent Side,"
"Pressure"). Neil never sounds convinced, even on the opening track, "Weight
Of The World," that the loneliness he felt until he met his love has really
gone for good.
"What about you / How can I count on you to count on me?"
is the plaintive question of "Drifter." The listener can't count on a solid
answer. This ambiguity, and the way it presages the power of later albums
such as Freedom and Ragged Glory, makes Landing on Water the missing link in
Young's canon for most listeners. My advice: Go find it and fill the gap now.
LIFE
1987 - Geffen GHS 24154
Mideast Vacation / Long Walk Home / Around the World / Inca Queen / Too
Lonely / Prisoners of Rock'n'Roll / Cryin' Eyes / When Your Lonely Heart
Breaks / We Never Danced
by Gary A. Lucero
glucero@wordperfect.com
Life is Neil's last official recording with Geffen. It was released in 1987,
with much of it recorded live during the Landing on Water tour. Although not
as reliant on keyboards for its sound as Landing on Water, Life shares a
certain feeling with its predecessor. Many of the songs, like "Mideast
Vacation," "Around the World," "Too Lonely," "Prisoners of Rock'n'Roll," and
"Cryin' Eyes," are rockers. They're fairly hard, and have some great guitar
work. The remaining songs, "Long Walk Home," "Inca Queen," "When Your Lonely
Heart Breaks," and "We Never Danced," are slow, melodic numbers. Most ofthe
songs are about war, the Incas, rock, or love. One interesting thing is that
the song "We Never Danced" was used as the basis for the movie "Made in
Heaven," which stars Timothy Hutton and Kelli McGillis. Neil Young has a
cameo role in the film as a truck driver. "We Never Danced" was unfortunately
not sung by Neil in "Made in Heaven," but was used to good effect none the
less. As with Landing on Water, Life was not appreciated very much by Neil
Young fans at the time of its release. Rolling Stone magazine said that
Freedom, which came out two years later, was more a "life" album than Life
was. I disagree; real life is love, war, hate, rock-and-roll, etc., and
that's what the album Life is about. Long may you run.
THIS NOTE'S FOR YOU
1988 - Reprise 25719
Ten Men Workin' / This Note's for You / Coupe de Ville / Life in the City /
Twilight / Married Man / Sunny Inside / Can't Believe Your Lyin' / Hey Hey /
One Thing
by David G Skoglund
skog0013@gold.tc.umn.edu
"My songs are all so long
And my words are all so sad"
- Neil Young
After re-signing with Reprise, Neil created another excursion into a different
musical style - big-band electric blues. During the North American tour with
Crazy Horse in the summer of 1987, there was a short set of blues number
between the opening, acoustic set and the Crazy Horse electric set. The new
style began to draw Neil's interest. In November of that year Neil Young and
the Bluenotes (Crazy Horse plus a horn section) did a small tour of clubs on
the West Coast. The material ranged from newly-written songs to numbers
written back in Neil's teen years in Canada. Shortly after the tour, the band
headed into the studio, but only after a few changes. The Crazy Horse rhythm
section of Talbot and Molina was replaced by Chad Cromwell on drums and Rick
(The Bass Player) Rojas on bass, and in the intervening time Neil had written
more material. In April of 1988, the album This Note's For You was released.
It can be roughly divided into two styles, the up-tempo "power swing" numbers
and the atmospheric ballads. The two styles mix nicely together, much in the
manner of the acoustic / electric split of other albums. The album features
some of Neil's most technically proficient guitar playing in a long time,
especially on the slower numbers. Some of the standout tracks include "Coup
Deville," "Twilight" (both ballads), "Hey Hey," "Life In The City," and the
title track, "This Note's For You." The title track would prove to be a point
of controversy, especially where the video was concerned. Originally banned
by MTV, the clip went on to win best video of the year - go figure. On the
album, the song appears in a heavily edited version (at little more than two
minutes long) and is almost a throw away. The live version that was later
released on Lucky Thirteen is more representative. This period is said to be
very prolific for Neil in terms of song writing, and this was proven true when
the band hit the road in the summer of 1988 with even more new material. In
retrospect, it would have been nice if the band had recorded the album at the
end of its time together rather than the beginning, as the songs from the
summer tour have a little more fire than the ones that made it to the record.
A planned live album by the Bluenotes never materialized, but it's rumored
that the Archives project will contain a lot of Bluenotes material that never
saw release. In the eyes of many mainstream critics, this album marked the
beginning of Neil's "comeback." This opinion would be cemented by the release
of Eldorado and Freedom a year-and-a-half later.
ELDORADO
1989 - Reprise 20P2-2651 (CD-EP, Japan and Australia only)
Cocaine Eyes / Don't Cry / Heavy Love / On Broadway / Eldorado
by Steve Vetter (Farmer John)
vetters@vax1.elon.edu
Eldorado is the 21st release from Neil Young, one of the most prolific artists
around today. Released as a special EP in Australia and Japan, and running at
only 25 minutes, Eldorado is not much of a value. However, in that 25 minutes
there is some of the hardest rocking music that Neil had put out, pre-Ragged
Glory. Recorded with the Restless (making for the joke, Neil Young and the
Restless), this is a wonderful accomplishment for only three players. The
other musicians on the record are Chad Cromwell on drums and Rick "The Bass
Player" Rosas, who both also appear on the album This Note's For You. One of
the great things about Neil is that after playing with people such as Cromwell
and Rosas (and more recently Booker T and the MGs), he gets a great idea for
what would be fun to do next and does it. Unfortunately, this is the only time
that Neil ever did anything like release less than a full album. The opening
cut, "Cocaine Eyes," is perhaps my favorite track on the disc. It has a real
groovy thing happening at the beginning that basically sounds like they threw
it together in the span of five minutes. Neil plays a little riff-intro type
of thing and says, "Let's try one like that," then breaks into the song like
he had it all in his head the whole time. Cromwell's drumming is very punchy
and fits very well. "Don't Cry" is the next track on the CD, and is also found
on Freedom. I like this song for its music and lyrics. It has the words of a
love ballad, but then Neil and the Restless break into a wild solo / power
chord trip that scales up and down more times in the span of thirty seconds
than an elevator does all day. "Heavy Love" is next, and has a sort of Ragged
Glory-type Crazy Horse to feel to it. If you like the stuff on Ragged Glory,
you will probably like this track. Personally, it is my least favorite on the
disc, but do not take that as a professional opinion. "On Broadway" is next,
which is a cover of the old sixties tune. Neil does a stock version, with the
electric guitar and the rhythm section falling nicely into place. Then
something changes, as Neil does a short solo and then seems to get angry,
screaming "On Broadway" at the top of his lungs and breaking into another
wicked guitar solo, until finally topping it off with "Gimme some of that
crack! Gimme that crack! Aggggg!" It really sounds like he got pissed off
on his way to the Hit Factory studio in New York City, where this was
recorded. The title track is presumably Neil's favorite off the disc, being
the only one that he performed with any regularity on the Freedom tour. It is
interesting because Neil plays some Spanish guitar riffs that I find
particularly enjoyable. At one point, he breaks it wide open with his guitar
and fills your ears with wild distortion. I think that on this song you can
also see some of the influence of the Bluenotes sessions. Mixed in with the
riffs is some melodic, blues-type playing, however this track would have been
out of place on the Bluenotes album. This EP is one of the most important
pieces in Neil's career because it shows the beginning of the Freedom to
Harvest Moon era of his popularity. I also think that it is one of those
projects that we will look forward to more of in the future (but may never
get). If you can find a copy (it's not readily available but is attainable),
I don't think there's anyone who has regretted buying it.
FREEDOM
1989 - Reprise 25899
Rockin' in the Free World / Crime in the City (Sixty to Zero Part I) / Don't
Cry / Hangin' on a Limb / Eldorado / The Ways of Love / Someday / On
Broadway / Wrecking Ball / No More / Too Far Gone / Rockin' in the Free World
by Jeff Dove
jeffdove@well.sf.ca.us
Freedom is Neil Young's Odds and Sods. His return to Reprise, with This
Note's for You, found him still in his "odd" period, but this second return
effort for The Chairman of the Board's label put him back on friendly ground
with old-style fans and radio programmers alike. This isn't to say that
Freedom is an easy album to evaluate, in the fashion of something like Ragged
Glory. This collection is in fact quite eclectic, and while that is a trait
that we expect from Neil from album to album, it is never found within the
boundaries of any other single release quite to the extent that it is here.
Freedom seems to be culled from several sources. A careful listening, and
perusal of the liner notes, places the tracks into a few sort of fuzzy
categories. "Rockin' in the Free World," which opens and closes the album in
different versions, recalls Rust Never Sleeps. The parallel goes beyond the
similar tactic, used in "Hey Hey, My My (Out of the Blue) / My My, Hey Hey
(Out of the Black)," but the styles of the two recordings on Freedom match
Rust Never Sleep's live acoustic A-side and Crazy Horse-raging B-side. As
with "Hey Hey...," and for that matter as with "Tonight's the Night" on the
album of the same name, the two versions have some lyrical differences. The
opening version of "Rockin' in the Free World" is a live solo acoustic version
from a Jones Beach, Long Island, NY show, while the closer is an electric
ripper that is right in there with the best of the Horse. The acoustic
"Rockin'" can be grouped with "Hangin' on a Limb," another solo number, this
time done in the studio with the vocal backing of Linda Rondstadt. The
rocking "Rockin'" falls in with another pair of tunes recorded in Neil's Barn
studio, "No More" and "Crime in the City." These are all up-tempo recordings
that recall Neil's work with Crazy Horse. "Crime in the City's" aggressive
acoustic guitar riffs are backed with subtle bass and drums, and "No More"'s
guitar lead recalls that of "Cortez the Killer." While these are a little
cleaner and more subtle than Crazy Horse tunes, their style was reminiscent
enough of past glory to quickly get FM rotation, and gain the status of being
amongst Neil's most liked and well known songs. Poncho Sampedro contributes
to them all.
Although "Rockin' in the Free World" recalls Rust Never Sleeps, other Barn
recordings, "The Ways of Love" and "Too Far Gone," could be off of American
Stars 'n' Bars. Each has a country-rock feel, complete with Ben Keith's pedal
steel guitar, and each works. In fact, "Hangin on a Limb" sounds like a
Comes A Time recording, and "No More" would fit right in on Everybody Knows
This Is Nowhere. The other distinct grouping of tracks are those recorded at
New York's Hit Factory with the Eldorado line-up. "Don't Cry," "Eldorado,"
"On Broadway," and "Wrecking Ball" are done with a guitar-bass-drum trio, with
the exception of a little acoustic work by Poncho on "Eldorado," and all but
"Wrecking Ball" also turn up on the Eldorado CD EP. These three songs have a
somewhat distinct sound from anything else in Neil's body of work. In "Don't
Cry," he delivers a soulful vocal plea which is interrupted by crashing and
dissonant guitar chords. The show tune cover "On Broadway," which could very
well elicit a gasp upon first seeing it listed on the cover, actually succeeds
by using a similar technique. "Eldorado" accompanies its tale of drug dealing
south of the border with music with a Latin feel, carried by Neil's beautiful,
crisp leads, and occasional Spanish guitar and castanet sounding
interjections. Unfortunately "Wrecking Ball" doesn't work. It's a piano
driven ballad that is a little too typical of such songs by lessor artists. It
lacks the Neil "edge," musically and lyrically, which make songs such as
"After the Gold Rush" and "Helpless" exciting and distinct from MOR dreck. On
a record this varied you can expect some misfires; however, one track falls
below, way below "Wrecking Ball," and that is "Someday." It is rehashed Bruce
Springsteen at best, and like theme music to some lame Hollywood "formula"
film at worst. With its tinkling piano, and tempo which mimics the Boss'
"Thunder Road," you keep waiting for a Clarence Clemons-styled sax lead to
interject itself, and towards the end it finally does. Come on Neil, this was
recorded in 1989...and it's a Barn track also! Freedom represents the first
step in Neil's commercial come back, and as such there are a number of good,
and some great, cuts included. Its shifting style makes for a unique
listening experience, and while fans have seen such shifts in style in the
past on records from one side to the other, notably on Rust Never Sleeps and
Hawks and Doves, be ready for changes from track to track on this one.
RAGGED GLORY
1990 - Reprise 26315
Country Home / White Line / F*!#in' Up / Over and Over / Love to Burn /
Farmer John / Mansion on the Hill / Days That Used to Be / Love and Only
Love / Mother Earth (Natural Anthem)
by Kurt "The Hangman" Blumenau
terrapin@bu.edu
The turn of a decade has often proved a fertile time for Neil Young. 1969-70
brought us Everybody Knows This Is Nowhere and After the Gold Rush, while 1979
saw the release of Neil's clearest and most enduring cri de coeur, Rust Never
Sleeps. The pattern continued into the nineties with Neil's 1990 release of
Ragged Glory, recorded with longtime backup band Crazy Horse in his barn in
California. The moods in this ten-song set range from giddiness (a hilarious
cover of "Farmer John") to scathing self-flagellation ("F*!#in' Up"), but
overall the mood of the album seems to be the sort of guarded optimism for the
future as expressed in "White Line:"
"Right now I'm thinkin' bout these things that I know / And the daylight
will soon be breakin'"
Ragged Glory is not one of Neil's dark albums, even with the inclusion of
"F*!#in' Up" and the shimmering noise-guitar-and-choir environmental warning,
"Mother Earth (Natural Anthem)." The lyrics are too optimistic and not as
barbed as Neil's words have been in the past ("Days That Used To Be"
effectively comments on the passing of hippiedom without being TOO cutting).
The music, as befitting the album title, is beautifully fast and loose,
expressing great emotion in its simplicity. Crazy Horse is, for my money
anyway, Neil's most simpatico backing band; here they bash and clang
merrily away, creating a ragged groove that a lot of modern grunge bands
would kill for. Many of the songs are stretched out in the fashion of
earlier NY/CH epics like "Cortez The Killer" and "Down By The River,"
allowing plenty of room for interplay and Neil's characteristic passionate,
spasmodic solos (the songs average about six-and-a-half minutes, and two or
three top the ten-minute mark). Ragged Glory represents a return to form
for Neil, a smart, tough, yet fairly optimistic view of the turn of another
decade from a true survivor of the rock-and-roll wilderness. A taste for
loud, sloppy rock is essential to appreciate Ragged Glory, but if you've got
it, then get it. It's a triumph, comparing well with any of Neil's electric
work, even the hallowed Rust Never Sleeps. Stay tuned for 1999-2000...
ARC
1991 - Reprise 26769
by Tom Henke
henke@hrm.admin.usfca.edu
Arc is one of the most strange sidelights in Neil Young's long career of sonic
experimentation. The set-up is, in this case, half the story. Young had
finished the noisy, cranked sessions that resulted in Ragged Glory, and had
taken Crazy Horse back out on the road for a mammoth tour, which emphasized
snarling distorted Gibsons (for the first time in years). As an intriguing
generational prelude, he had Sonic Youth opened the tour. Apparently, SY's
Thurston Moore was talking with Young and told about a habit he had cultivated
of making random, collage-type tapes out of different parts and performances
from SY's tours - jigsaw puzzle tapes of noise, feedback and songs. This
idea intrigued Young and he kept it in the back of his mind for later use.
When the tour was over, it was announced that a live album, Weld, was on its
way. It would be packaged in a limited edition with a piece of experimental
noise, as Arc-Weld. These editions proved impossible to find, but Arc did
appear as its own single CD. It turned out to be, more or less, Moore's idea
filtered through Young's conceptual framework. Specifically, it is a collage
of extended outros from several songs on the tour, especially "Like a
Hurricane" and "Love and Only Love." These songs were stretched out during
the tour until their ends became freaked-out noise collisions all their own,
sometimes lasting an additional five to ten minutes. Young took recordings of
several of these long endings and wove them together into a 34:57 minute epic
of surge and crash, splatter and hum. He was very proud of this work at the
time and claimed it had a definite logical structure. This supposed structure
is hard to fathom. Rather than a complete composed piece, as it seems Mr.
Young viewed the document, what it appears to be is something far more oceanic
- a connected series of swells and crashes leading to times of relative calm.
The piece begins with some rather random clanks of picks upon clean,
undistorted electric guitar strings, then comes the sound of a plug hitting
its socket - a prelude creating anticipatory tension. Quite suddenly, we are
washed into a rampant distorted storm - a shriek of guitar noise, cymbals run
amok, a cheap-sounding synth chord from Poncho, and this rumble-rumble-rumble
shooting through it all. This is the general sound of most of the piece.
Cymbal crashes, guitars, and that distinctively dense rumble of random tom
toms and bass cut through most of Arc like a verse melody. At 3:07 we hit the
first words, most of a verse from "Like a Hurricane." The phrase:
"Once I thought I saw you, in a crowded hazy bar / Dancin' on the light
from star to star"
comes through clearly and beautifully while the rumble subsides to hum and
echo. Surreal blips of noise peek through, then squeaks and burps, then a
crash and a buildup into a dive bomb of feedback. This word portion of the
piece serves as a coda and is repeated at ten minute intervals - at 13:00 the
same verse returns and at 23:05 it is back again. Between these bits of
"Hurricane" and their associated crashes, sung lines of "I want love," and
"...love and only love..." appear and fade into the din like some strange
bobbing memory. At times these phrases are strangely vulnerable, like a plea,
and at other times they are more strident and declarative. When the noise
dips to a whisper (every eight minutes or so) the crowd suddenly appears like
a breath of fresh air, screaming over the top of everything, only to be
deluged by the next burst of swooping whammy-bar dive bombs. Things really
freak out at the very end of the piece. At around 26:34 it begins to tatter
with a smash of Poncho noise, a crash and a distant echo that sounds like
"Aww...I'm sorry...so sorry...," then noise and another crescendo, then back
down again. There are whammy-bar swoops and noises through 28:00. At 28:30 a
regular insistent bass line picks up, easy drums come behind, Neil noodles
with a spacy guitar sound then gives a "Yeah!" in the background. All gets
very phased and weird and the crowd comes through again for a moment. There
is a cut in the sound and another crash, then more "Sorry man...sorry..." from
Poncho(?). More crashes into more "Love and only love..." choruses occur, now
like a mantra of strength. At 30:57 some real melody notes are played,
recalling the figures from "Like a Hurricane," then finally a coda of "Take a
chance, take a chance on love...," and a fade down.
It seems over, until at 32:00 there is a thrash of one chord, crashes, and a
buildup to a chant of "no more pain!" Then it's off again with a shout of,
"Hey mom, hey mom, I'm hungry mom!" The music gets martial again, with Neil
jamming away on real notes while Poncho slams chords. The rant goes on with
"Get in the car...go to the post office..." The whole thing comes to a jammy,
slamming, rumbling close. There is a brief final repeat of "I want love," a
distorted explosion, a couple of clear bass chords, and a fadeout - end. The
overall effect is, again, mostly tidal. Noise lifts you like a wave only to
smash apart. There are moments of calm, then all hell breaks loose. Drawing
conclusions from this piece seems nearly impossible. Not exactly an
experiment in tolerance and irritation, like Lou Reed's Metal Machine Music,
Arc is more of an organic piece reflecting the chaos of life, or at least of
electricity. The real meaning here is anyone's guess. A soundtrack for the
growth of fractals? A sonic portrait of a Gulf War annihilation? Nothing at
all? Arc is a strange beast. Not a piece for the casual listener, it seems
only recommendable to completists and those out for a weird, joyless,
difficult experience. Arc is in the end interesting, but not much fun.
WELD
1991 - Reprise 26671
Hey Hey, My My (Into the Black) / Crime in the City / Blowin' in the Wind /
Welfare Mothers / Love to Burn / Cinnamon Girl / Mansion of the Hill /
F*!#in' Up / Cortez the Killer / Powderfinger / Love and Only Love / Rockin'
in the Free World / Like a Hurricane / Farmer John / Tonight's the Night /
Roll Another Number
by Gary A. Lucero
glucero@wordperfect.com
"Sparks Be Flyin'"
Weld is one of those incredibly wonderful albums that comes along rarely.
When it first came out, I happened upon it by chance. I didn't listen to the
radio, I wasn't a member of the N.Y.A.S., and I didn't belong to Rust@Death,
so the only way I was able to find out about new releases was from the CD
store where I bought my music. The place I used to buy CDs, a big book store
in Albuquerque, also sells books, software, newspapers, and other stuff. My
wife worked there, and in the afternoon, when I would come to pick her up, I
would rummage around in the music department. I would check out the Neil
Young section every day, even though it almost never changed. I guess I hoped
a new CD would be released, the Archives would ship, or something. Anyway,
one day I walked into the store, wandered over to the music department, and
checked out the Neil Young section. Arc-Weld was sitting there. I was blown
away. I couldn't believe it, a new Neil Young CD. And actually not just one
CD, but three...incredible! I could not believe it. I of course bought it
immediately. I liked Arc-Weld right away. I thought Arc was a good CD, and I
thought Weld was too, but I didn't like either of them then as much as I do
now. "Hey, Hey, My, My (Into the Black)" opens, and Neil and Crazy Horse
thunder into this staple. The crowd comes up, and then "Out of the Blue," the
song, begins. It is performed with as much energy as in its original version
or the Live Rust version, and its musical and vocal qualities seem clearer
than in those versions. It's brighter, and Neil's voice seems more solid. It
is an outstanding rendition of a great song, and a nice way to kick off the
album.
One of the real highlights of Weld is "Crime In The City." The Freedom tour
boasted the acoustic version of this incredibly moving song, and the Freedom
album gave us a Bluenotes-influenced rendition. But Weld gives us a
rock-and-roll version, complete with driving guitar work, clear drums, and
screaming vocals. Crazy Horse proves to be an excellent band to back Neil on
one of his most delicate and sincere songs. From there it moves to "Blowin'
in the Wind," the Dylan classic. Sirens, machine gun fire, rockets flying by,
explosions, and Neil's lone guitar begin the song. It is reminiscent of
"Mother Nature (Natural Anthem)," except with special effects and Neil's
feedback-drenched guitar looming overhead while he belts out the lyrics. The
backing vocals work well to provide synergy, and to hone the otherwise
unweilding song. The real standout for this reviewer is "Welfare Mothers."
Never before had this song affected me so much. I've always loved Rust Never
Sleeps, and enjoyed "Welfare Mothers," but I never understood it until Weld.
The song begins simply enough, and isn't really any different than the
original version for several minutes. It is not until it begins to wind down,
and Billy Talbot and Neil Young begin their interchange of dialog, that the
song takes on real new meaning. Neil sings "beautiful" at the end of every
chorus, and his guitar screams out the lead. Then the song begins to slow up,
and Neil says "take care." You hear "no more pain," and when Neil asks Billy,
"Where's the check Billy?," the classic response is "The check's in the mail."
The message conveyed is the cycle of starvation, child abuse, false love, and
the false relief brought when the check comes. Chaos takes place, with the
guitar and drums sounding wildly, and then it dies into the crowd. Before you
know, it another song starts. "Love To Burn" is one of the most gorgeous
songs from Ragged Glory. Neil does it justice here. The guitar soars,
reminiscent of "Cortez The Killer" or "Dangerbird," but the lyrics are surreal
and touching:
"Why'd you ruin my life? / Where you takin' my kids?"
The rest of the first disc, "Cinnamon Girl," "Mansion On The Hill," and
"F*!#in' Up," are standard fare. They are good versions of good songs, but
let's move on to disc two.
"Cortez the Killer" is slow and plodding, careful and meticulous, almost like
a prayer or incantation. Each words carries forth the emotion of a man who
seems in awe of the Aztecs and the Incas. Neil's guitar work is beautiful,
and the drums and backup vocals are clear and concise. Neil Young and Crazy
Horse provide us with one of their most moving versions of this song. When
Neil sings "killer!" it just about rips out your heart. It is followed by
"Powderfinger." This has never been one of my favorites, though the lyrics
are entertaining and the song is a lot of fun to listen to. On Weld, it is
sung well, and Neil and the band do an excellent job. "Love and Only Love,"
another of my favorites from "Ragged Glory," is also performed beautifully.
Like all of the songs on Weld, it is sung with clarity and feeling. "Rockin'
in the Free World," "Farmer John," and "Roll Another Number," the fourth,
sixth and last song of disc two, are all performed well, but I want to discuss
the remaining songs, "Like a Hurricane" and "Tonight's the Night." These
songs are standards, and the versions presented here are exceptional. "Like a
Hurricane" has some of the most outstanding guitar playing since the Berlin
version. Neil squeezes sounds from Old Black that are incredible, and brings
the song to an orgasmic level. After the first verse, the guitar is slow and
careful, and then with each subsequent verse it becomes more chaotic and
fierce. Chords and notes are sounded with feeling, and though they are
familiar to anyone who has heard more than one version of this song, they are
yet new and revealing. This is the best rocker on the album, and one that
should be remembered for a long time to come. There is no way Neil Young can
top the version(s) of "Tonight's the Night" that appear on the album of the
same name, but on Weld he provides a good electric rendition. Whereas the
original had Neil's great piano work, Nils Lofgren's solid guitar, a great
bass line (which you hardly ever hear in Neil's music) by Billy Talbot, and
wonderful harmonies coming from the group, on Weld it is quite different. The
bass is distinguishable at the beginning, and the drums are clearer - you can
hear the tom toms and the cymbals. Neil's guitar sort of wails, even as his
voice does, and what starts out as a slow rocker soon becomes a scorcher.
Again, the emotion in his voice is undeniable. He sings the song with
feeling. When it takes off, after a couple of verses, Neil sings "oh Bruce"
and launches into a frenzy of guitar solos. They start off slow, but soon,
after a bit more vocals, some being improvisational, and some great bass
playing by Billy Talbot, it really begins to fly. The drums are pounding, the
guitar is screeching, and you can hear screaming in the background ("oh Bruce,
oh Bruce, oh Bruce"). The song then dies out, and Neil gives his thanks with,
"And a word of thanks for all of our families, and for the great crew that we
got out here for the last fifty-four shows; the best; thank you." The show,
and the album, finish with "Roll Another Number."
I have not compared Weld to bootlegs or concert tapes, but only to officially
released albums and video tapes. You may know of unofficial concert
recordings which have superior versions of many of these songs, but for the
money there is no better live CD than Weld. I'm not saying there aren't
better LPs, cassettes or DAT tapes, but on compact disc you will not find a
better value. Weld is an incredible album, and if you can find Arc-Weld, buy
that - it is even better.
HARVEST MOON
1992 - Reprise 45057
Unknown Legend / From Hank to Hendrix / You and Me / Harvest Moon / War of
Man / One of These Days / Such a Woman / Old King / Dreaming Man / Natural
Beauty
by Uncle Dave
covey@lts.sel.alcatel.de
After the angst of his early work and the metallic thrashing of the later
albums, Harvest Moon reveals the true Neil Young. The Neil Young that was
left behind in the post-hippie trauma that was seventies rock. With Harvest
Moon, Neil finally grows up! Ragged Glory was Young at his snarling best -
plenty of volume on the guitar and powerful lyrics to match. Arc was an
epitaph to that period, an exercise in self-indulgent exorcism. Harvest Moon
is mature. This is music not from the heart or the head, but from, and for,
the soul. Neil's music is always fresh, often surprising, sometimes maudlin,
intense and perplexing, but never until this quite so (aw shucks!)
heart-warming. Harvest Moon is the quintessential down-home-mom's-apple-pie
American folk album. It's one of the few Neil Young albums that you can share
with the one you love, along with a bottle of something nice, without having
to apologetically hit the fast forward button or move the tracking arm
forward. The fact that it has undoubtedly won new admirers of Neil's work is
due just as much to its refusal to conform to what you might expect, as to its
undoubted wider appeal. "You and Me" could easily have been on Harvest, the
other NY album to enjoy a mass audience, while "Old King" is probably too
country for Country Music Television. The title track is one of the most
evocative songs from the most evocative of songsmiths. It is pure beauty, one
of those songs which you live, recalling long lost summer nights and inducing
that sad nostalgia that comes from knowing you'll probably never quite get
there again. If it has a theme, Harvest Moon is about love, and love in its
many guises. That is love of nature, love for old friends, love for a
favorite pet, and yes, even the standard boy meets girl is expressed here, and
in a refreshing fashion to boot. While probably not the most favored album
among Neil's hardcore fans, this is nevertheless a masterpiece. There is not
a single weak track, and from the very first listen you get the feeling that
you're seeing the real man stripped bare for all. Some people have found it
very easy to be cynical about Harvest Moon, but then they've probably never
been in love, and if you have then you'll know. This album would make such a
fitting epitaph for Neil Young that it's scary. Whilst hoping that it won't
be, it's difficult to see where he can go from here. But of course, this is
Neil Young we're talking about.
LUCKY THIRTEEN
1993 - Geffen GEF 24452
Sample and Hold / Transformer Man / Depression Blues / Get Gone /
Don't Take Your Love Away From Me / Once an Angel / Where Is the Highway
Tonight / Hippie Dream / Pressure / Around the World / Mideast Vacation /
Ain't It the Truth / This Note's for You
by Gary A. Lucero
glucero@wordperfect.com
"Excursions Into Alien Territory"
Lucky Thirteen is an eclectic collection of music made by Neil Young from 1982
through 1988. Many of Neil's fans appreciate little from these years, which
the artist spent with the David Geffen Company. The albums he released during
this segment of his career include Trans, Everybody's Rockin', Old Ways,
Landing on Water, and Life. He also toured with the Bluenotes while with
Geffen (before releasing This Note's For You on Reprise Records in 1988).
These albums represent some of the best music Neil has ever made, though, and
Lucky Thirteen is a good sampling from them. Lucky Thirteen opens with
"Sample and Hold." This is not the original version that appeared on the
Trans LP, though it does appear on the Trans CD that Geffen released in Europe
and Japan last year. It does not have the rock 'n' roll bite that the
original had. It is longer and slower, but is well worth listening to. Next
is "Transformer Man" from Trans, and it is a good song about Neil's youngest
son Ben. "Depression Blues," "Get Gone," and "Don't Take Your Love Away From
Me" follow. All are previously unreleased, and all are excellent.
"Depression Blues" is a slightly country number that is very pretty, and the
other two are blues songs recorded live on the Neil Young and the Shockin'
Pinks tour. Except for "Ain't It the Truth," which is a previously unreleased
Neil Young and the Bluenotes song, and "This Note's For You," which is a
tremendous, previously unreleased, live version of the song from the album of
the same name, the rest of the songs on Lucky Thirteen are the original
versions from the albums Old Ways, Landing on Water, and Life. Their order
and selection are very pleasing. Lucky Thirteen can be considered not only as
a sampler of what Neil Young did in the eighties, but it also hints at how he
will prepare his long awaited Archives, and the Lucky Thirteen liner notes
suggest that many tracks on this album will appear on Archives when they are
finally released. While you're waiting for Neil, who is careful but slow, to
put together and finally release that boxed set, you can put Lucky Thirteen on
and understand that it's his varied styles, wonderful guitar playing, and
wondrous songwriting that sets him apart from the crowd.
UNPLUGGED
1993 - Reprise 45310
Old Laughing Lady / Mr. Soul / World on a String / Pocahontas / Stringman /
Like a Hurricane / The Needle and the Damage / Helpless / Harvest Moon /
Transformer Man / Unknown Legend / Lookout for My Love / Long May You Run /
From Hank to Hendrix
by Uncle Dave
covey@lts.sel.alcatel.de
I like to be at the office by seven, so the World Cup is not my favorite
tournament - and not just because England isn't there. I live in Germany
where they're football mad - and have a team which makes the "luck of the
Irish" look almost unfortunate. Trying to sleep when they are playing is out
of the question in my neighborhood, so I lay in the dark and listened to
Unplugged instead. It's that kind of album - crisp and clear and the digital
sound definitely enhances some of those older songs. This could be subtitled
"Greatest Hits," and it's certainly as close as you'll come to a marketing
exercise from Neil Young. It succeeds in that because it is a well-chosen,
well-performed set that spans the whole of NY's career. I tuned in to
Unplugged on MTV the other day to remind myself what it's all about.
Aerosmith were on and sounded like, well, Aerosmith "sans electrique." They
were even more mind-numbingly boring than usual. That seems to be the way of
it, and I wonder whether, with such groups, there's a point as their music
relies on power. People like Neil Young can do it with or without the wall
sockets, and it shows. The marketing idea is enhanced by the fact that the
lyrics are printed on the insert, but then destroyed by the failure to mention
the albums that they come from. Strange, but when you're listening to someone
who can write (from "Pocahontas"):
"I wish I was a trapper, I would give a thousand pelts / To sleep with
Pocahontas and find out how she felt"
normal rules don't apply. As a showcase for his astonishingly consistent song
writing abilities, Unplugged is ideal, and the opportunity is taken
professionally and consummately. The scope for invention in an acoustic
environment is somewhat less than can be achieved electronically, but there
are still things here to send a shiver down your spine. "Harvest Moon" is so
much like the original track that it's scary, and the use of a pump organ for
a gothic start to "Like a Hurricane" is one of those moments of musical genius
rarely witnessed, which some artists go their whole lives without seeing. I
like Unplugged a great deal. The only question mark is why, in this age of
Hi-Fi video machines and the ease with which you can feed digital sound
through your speakers while watching TV, should someone buy the record instead
of the video. It's a thoroughly good album, and if after reading some of
these reviews you'd like to try a Neil Young sampler, then this is it.
************************************
As a point of reference, here are the results of the Rust@Death list's "First
Annual Favorite Neil Young Album Poll," as published in Broken Arrow no. 55,
from May, 1994 (compileds by Keith "The Thrasher" Bonney):
Rust Never Sleeps - 35 points
Everybody Knows This Is Nowhere - 32 points
Tonight's the Night - 26 points
Ragged Glory - 25 points
After the Goldrush - 24 points
Freedom - 23 points
On the Beach, Zuma - 21 points
Decade - 16 points
Time Fades Away - 13 points
Weld - 12 points
Harvest, Live Rust - 10 points
Trans, Harvest Moon - 8 points
Comes A Time, This Note's For You - 7 points
American Stars 'n' Bars - 6 points
Hawks and Doves, Unplugged - 5 points
Re-ac-tor - 4 points
Neil Young, Old Ways, Eldorado, Arc-Weld - 3 points
Landing On Water, Arc - 1 point
Journey Through the Past, Everybody's Rockin', Life - 0 points
The FUNHOUSE! Hot 100 - The One-Hundred Most FUNHOUSE! LPs of All Time
----------------------------------------------------------------------
The following albums communicate the FUNHOUSE! sensibilities. They weren't
"crafted," no surveys were done, and no close adherence to the demographics of
the commercial radio audience or the tastes of arrogant DJs were considered.
That's more the style of Toto, Journey, or Skid Row. As I interpret it, most
of the music below came from the guts of some dweeb or dweebs who were making
noise that communicated their excitement or anxiety - they made it because
they liked it. In a couple of cases (Kiss?), they may have just got lucky in
capturing something more real than was intended, but some of the best "art"
comes from twisted and failed attempts to create something that, if
successful, would have been altogether lame. Just watch the movie AIRPORT '70
- THE CONCORD to get an idea of what I mean. This is no "best-of" list, and
as any issue of FUNHOUSE! is just a snapshot in time I may laugh hysterically
or be disgusted about something below in the future. You may even read about
it in these pages. What follows is the soundtrack for the FUNHOUSE!
experience. These are the tunes that go with watching a Russ Meyer flick or
reading an EC comic. The goal is to turn you on to something that you might
like but haven't yet discovered, and if that happens I'd love to hear about
it. One stipulation going in was that nothing released later than 1992 was
considered. Music didn't mystically get generally worse at that point, but
this was just to prevent an overvaluation of something currently sitting on my
turntable. Undoubtedly, records have come out since then which would make it,
but a little distance is required to get a more honest picture of where they
stand.
100.NEVER MIND THE BOLLOCKS - The Sex Pistols (1977, Warner Brothers
BSK-3147)
I had to fit it in somewhere. Although a bit overrated, it still has
some monster riffs from Steve Jones, who also plays the bass parts.
Don't think that Vicious had anything to do with the music in this
band. Punk 100 - this serves as an intro to the scene for fourteen year
old kids and thirty year old come-lately rock critics alike.
99. METAL MACHINE MUSIC - Lou Reed (1975, RCA CPL2-1101(S))
Lou during his most bitter period created his most caustic joke. The
best part occurs when the feedback between the tube amps in series
and the arbitor distorter (Jimi's) achieve a little variation in the third
minute of side C. There's a Yoko effect. Lou claims the presence of a
harmonic build up in one channel - I'll take his word for it. 64:04
minutes of heaven and hell. Is this partially responsible for Masana?
98. PARANOID or MASTER OF REALITY or VOLUME FOUR or SABOTAGE [pick one] -
Black Sabbath (1971-
75, Warner Brothers WS-1887 or BS-2562 or BS-2602
or BS-2822)
The bottom-heavy psychometal acid rock pioneers tread on ground that only
Blue Cheer also walked at the time. Sabbath had better hooks however,
and anyone who's actually listened to these knows that intriguing
instrumental acoustic passages can also be found. The first six
albums all pack a wallop and make Soundgarden possible. Numbers one
and five slip a bit below those above, and thus any of these four will
do. Purist might go for Paranoid, but that would skip over "Sweat Leaf"
(Master), "Snowblind" (Vol. 4), and "Hole in the Sky" (Sabotage).
97. REVOLVER (UK version) - The Beatles (1966, Parlaphone 3075 [UK])
The Fab Four at their peak of creativity as a band. The stretch of LPs
Help-Rubber Soul-Revolver (UK versions!) is where they matured as
musicians and songwriters, and hadn't yet disintegrated into one
songwriter and three-studio musicians. This is their most psychedelic /
feedback drenched effort. Listen to your early Beatle albums sometime
and imagine how intense they would be if the guitar was mixed up there
with the vocals and drums.
96. DOREMI FASOL LATIDO - Hawkwind (1972, United Artists UA-LA001-F)
This is everything that Rush wish they could be. The music of this
English trio is the sonic representation of a trip - a trip on a spaceship
that is. The seven tracks are built on a surging and driving heavy sound,
interspersed with guitar created SFX noises, to try to translate the
science fiction scenario described in the record's liner notes and its
inner sleeve, which looks as if it could have been taken from the Mighty
Thor. Lemmy contributes the fatalistic "The Watcher," which may be the
mellowest thing with his name attached to it, and which was given a harder
treatment on Motorhead's first.
95. LOLA VS. POWERMAN AND THE MONEYGOROUND - The Kinks (1970, Reprise
RS-6423)
In the period between the hits, The Chairman's label decided to allow the
Davies brothers to continue producing a series of concept albums that now
comprise their best work. This one is a notch ahead of Something Else
on the basis of its added energy. "Lola" emerged as the most well known
song, but the rest is up to that level.
94. BEACH BOULEVARD - Compilation (1979, Posh Boy PBS 102)
Back in high school in Orange County, Beach Blvd through Huntington Beach
was the road to the party, and in the late seventies the kids carved a
niche in the punk scene with roots in Dick Dale and the Lonely Ones.
Beach Punk had the energy of the Ramones, with a more melodic overtone.
The best of the bunch, the Crowd, the Simpletones, and Rik L. Rik, are
collected here.
93. CATHOLIC BOY - The Jim Carroll Band (1980, Atco SD 38-132)
The gutter poet gets a rock band, and lucky for him they were a good one.
Carroll translates his blasts of consciousness tales of Big City life on
the Mean Streets of NYC through an energetic but cleaned-up noise that was
typical of the post-punk movement of the time. There's a definite dose of
fatality, but it seems honest, as opposed to the pretentiousness of
today's fashionably in-style negative kids. In the adolescent days of
video rock, JC claimed he'd never make one, but that may be irrelevant as
he probably wouldn't have been given the chance. And even then, the
corporate stiffs at Music Telejism couldn't handle observations of the
like that, "It's too late to fall in love with Sharon Tate."
92. PURE MANIA - The Vibrators (1977, Epic 82097 [UK])
Power pop punk from the UK. Not as angry as some of their contemporaries
but still quite energetic. The precursor for bands like the Dickies in
the US.
91. I FOUGHT THE LAW - The Bobby Fuller Four (1966, Mustang MS-901)
The title track has become a classic due to renditions from the likes of
Lou Reed, the Clash, and the Dead Kennedys, but the original packs just as
much power as those later remakes. Power-chording rhythm guitar work
provides a much fuller sound than was common in the early sixties. "Never
to be Forgotten" stands up with the big hit on this one.
90. DIGGIN' OUT: TWENTY SURF BLASTS - Compilation (1992, Mr.Manicotti
MM 329)
THIS is surf music, not the pop pabulum put out by vocal groups like the
Beach Boys and Jan and Dean. If you're into "Pipeline," "Wipeout,"
"Miserlou" etc. grab this - it's those tunes with extra reverb and
distortion. Avenger VI, Newport Nomads, the Lonely Ones - definitely
punk man.
89. NUGGETS - Compilation (1972, Elektra 7E-2006)
Lenny Kaye opened the door in 1972 for the likes of Pebbles, Boulders,
Highs in the Mid-Sixties, Back from the Grave etc. Sneering attitude from
post-Stones American sixties garage cretins like the Count Five, the
Shadows of Knight, the Standells, the Chocolate Watchband, and the Music
Machine. Proof that punk didn't start in London / 1976.
88. SURFIN' BIRD - Trashmen (1964, Garret GAS-200)
The title track alone insures this record's placement. The bird will
never die, and the song copped from the Rivingtons and covered by the
Cramps and the Ramones is surrounded by some equally crazed surf ravers
from a group of Minnesota boys who never set foot an a beach
87. OUT OF THE TUNNEL - MX-80 Sound (1980, Ralph MX-8002)
Imagine one of those late seventies new wave / power pop bands that were
always on the radio back then (an aside - my dix refers to new wave as
with, "...lyrics which express anger and social discontent." Would that
be the B-52s?) and then imagine if the guitar was mixed WAY out in front.
Now imagine it with a speeded up Asheton-like intensity. Bruce Anderson's
fluid but intense string thrashing leads these unfortunately underrated
nouveau-metal Hoosiers.
86. PSYCHOCANDY - The Jesus and Mary Chain (1985, Reprise 25383-1)
It's Metal Machine Music with melodies. What do you do if you're a young
angst ridden teen with great tunes running through your head but no
ability to play an instrument? You get your bro to plug in a guitar, turn
all the knobs on ten, and sing along with the distortion.
85. FREAK OUT! - Mothers of Invention (1966. Verve V6-5005-2)
In the first double studio LP rock record, Frank Zappa lets everyone know
that he's a little weird. The debut has the Mothers at their best,
trudging through all the usual styles (garage, doo wop, R & B, esoteric
cacophony) at their most succinct. "Trouble Every Day" is still relevant
to today's world.
84. BEGGAR'S BANQUET - Rolling Stones (1968, London PS-539)
Poor Stones; after coming up with their first record that really defined
them as a band with a sound of their own (not just great renderers of
Chuck Berry's or Elmore James' sounds), they thought that they would
finally move ahead of the Beatles as Kings of Rock. It's too bad for them
that that other group came out with their "Revolution" / "Hey Jude" single
at the same time. This albums got more balls, though.
83. BOOKER T. AND THE MG'S - Best of Booker T. and the MG's (1968
Atlantic 8202)
The Stax / Volt house band in the sixties delivered an amazing series of
groovable soul-rock instrumentals on their own as well. Limited to organ,
guitar, bass, and drums, the foursome produced a more complete sound than
any larger ensemble. "Green Onions" was the biggest hit, and this collec-
tion is filled with songs which carry just as much rhythm as anything with
a vocalist. It's from an era when an wordless tune could still climb the
charts.
82. WILD GIFT - X (1981, Slash 107)
X in their early raw and unrefined era, which is highlighted by stinging
Billy Zoom punkabilly guitar, and vocal harmonies telling of the decadent
world of LA hype club life. Unique punk rock that gets the edge over their
first LP (Los Angeles) based on greater length.
81. AVENGERS - CD presents (1983, CD Records CD 007)
A compilation of singles etc. from SF's greatest punk band. Penelope
Houston's vocals are powerful without being screamed or shrill, and the
music is delivered in the Cal punk style without sacrificing the hooks.
It's too bad that Penelope sings today as if she thinks that she's a
Judd - someone get some real guitars behind her.
80. RAGGED GLORY - Neil Young and Crazy Horse (1990, Reprise 26315-2)
The Godfather of Grunge revives himself once again after a period of wacky
experimentalism, which took him from techno to rockabilly to country to
R & B. There's no filler on this record, which is the result of Neil and
the Horse shacking themselves up in his mountain spread and working out
each song to perfection. The guitar cuts loose better than anything heard
on the Headbangers Ball.
79. KINGS OF OBLIVION - Pink Fairies (1973, Polydor )
Bands like Blue Cheer, Dust and Sir Lord Baltimore hinted to Cream
followers what the "power trio" concept was all about, but it took this
version of this limey band to define it for the early seventies (before
Motorhead would assume the throne three years later). It's fast, it's
got drive, it rocks.
78. SANDINISTA! - The Clash (1981, Epic 37037)
Everything including the kitchen sink is thrown in over this six side /
thirty six song follow up to the hit "London Calling" album. Some
complain that the record would be better had they trimmed it up a bit
(those who hold that view should seek out the promo sampler, "Sandinista
Now!" single LP,) but I enjoy digging through the funk-tinged punk of
"Magnificent Seven," the country-tinged punk of "Loose this Skin," the
ska-tinged punk of "Police on my Back," the gospel-tinged punk of
"Sound of the Sinners," the jazz-tinged punk of "Look Here," the reggae-
tinged punk of "One More Time / One More Dub," as well as "hits" like
"Somebody Got Murdered," Hitsville UK," "Charlie Don't Surf," "Lightning
Strikes," and "The Call Up."
77. IN A PRIEST DRIVEN AMBULANCE - Flamin' Lips (1989, Restless 7 72359-1)
One of the last two Lips LP's might just as well have been included as a
representative of the group's high volume acid trip rock-and-roll, but
that would violate the post-'92 rule, and this record stands up to those.
Every guitar effect is utilized to produce the extreme fuzz tone sound.
Half of the song titles have "Jesus" in them.
76. A WORLD APART - The Crowd (1980, Posh Boy PBS 108)
The Huntington Beach punk band who ushered in the modern face of surf
music. This is a full album of the best band from the Beach Boulevard
compilation.
75. TOO TOUGH TO DIE - The Ramones (1984, Sire 25187)
The bros slipped a bit after the huge success (artistically) of their
first four releases. They started getting back on track with 1983's
"Subterranean Jungle," and with Tommy Ramone returning as producer on this
one, they delivered a collection with a harder and tougher sound without
sacrificing their mutant-pop tendencies. The Ramones' best post-
seventies album.
74. TURN ON THE MUSIC MACHINE - The Music Machine (1966, Orignal Sound
5015(M),8875(S))
The band wears all black clothes and a single glove - and they're not
poseurs. Sean Bonniwell delivers the vocals with the expected sixties
garage-band sneer, and the music has more fuzz guitar than anything
outside of Davie Allan. Even the cover tunes, which tend to drag down
albums from this era, are interesting and serve as more than filler.
The ubiquitous "Hey Joe" as a dirge and Neil Diamond's "Cherry, Cherry"
are examples.
73. AND JUSTICE FOR ALL - Metallica (1988, Elektra E2 60812)
The best of the new metal bands and their best record. Extended workouts
stretch these tunes out to maximum length. This is proof that not every
long-hair band gigging the LA clubs in the early-to-mid eighties was
worthless. Most were though, as for every Metallica there were a handful
of Ratts, Great Whites, Armored Saints, Poisons, and Quiet Riots.
72. THE MADCAP LAUGHS/BARRETT - Syd Barret (1974, Harvest SABB-11314 [UK])
This should be required listening for all psychiatry students; a peek
into the mind of an acid casualty. After leading Pink Floyd through
the Brit-psych sounds of their debut, The Piper at the Gates of Dawn,
a combination of Barrett's wackiness and Roger Water's ego forced his
ouster. This is a double-LP compilation of the two record payback
from Waters and Gilmore, who hauled their portable studio over to Syd's
crash pad and turned on the tape. The result is a barely-produced
collection a songs that are sometimes goofy and sometimes display
some offbeat philosophy. The original records were put out in 1969
and 1970.
71. NOBODY'S HEROES - Stiff Little Fingers (1980, Chyralis CHR 1270)
Irish ramalama punk rockers who displayed a progression from hardcore to
raw rock-and-roll over the course of their four albums, and always with a
bit of a reggae influence. This LP is number two, and strikes the best
balance between white guitar noise and more complex compositions. A cover
of the Specials "Doesn't Make it Allright" is a highlight.
70. BORN INNOCENT - Red Cross (1982, Smoke Seven SMK-7-103)
A pair of 12 and 15 year old brothers from the LA suburbs sing tributes to
Russ Meyer, Linda Blair, The Brady Bunch, and Charley Manson - with the
utmost in trash rock sensibilities. Charley's "Cease to Exist," which can
be heard on his Lie album, is the unlisted final track.
69. OSMIUM/RHENIUM - Parliament (1970, Invictus 7302/H.D.H. HDH LP 008 [UK])
Osmium (that's a pretty heavy metal!) is essentially the first
Funkadelic record. The is the initial LP after George Clinton's doo wop
group recruited a gang of young Hendrix freaks to back them up with a
heavy-funk-psychedelic-Delta Blues-soul-acid overamplified rock sound. A
great forecast of things to come, when for legal reason the group's name
was temporarily retired. Rhenium is the reissue, which is improved by the
inclusion of some single only releases from the same period. Check out
the original recordings of "I Call My Baby Pussycat" and "Red Hot Mama."
68. BRAIN CAPERS - Mott the Hoople (1972, Atlantic SD-8304)
If you've only heard the post-Bowie version of this band you might be
surprised at how hard they rocked before his emasculation job (as he did
with Lou and Ig). This is the last of the four Atlantic albums before
they took the glitter edge on Columbia, and it's their best. Ian Hunter's
raspy croak delivers on songs with titles like "The Wheel of the Quivering
Meat Conception" and "Death May be your Santa Claus."
67. STAND! - Sly and the Family Stone (1969, Epic BN-26456)
Sly reached his happy / groovy peak here, just before the big bummer led
him to the introspection of "There's a Riot Going On." The wah-wah jamming
on the 13:48 minute "Sex Machine" is the greatest rock-soul fusion this
side of Brother George.
66. I AGAINST I - Bad Brains (1986, SST 065)
As it was once said, "Spyz kicks Color's ass, but Brains kicks them both."
Explosive hard rock from these former DC part-time rastamen, part-time
punks, which is the indisputed successor to the ground broken by Sly and
Funkadelic in the seventies. Dr. Know roars.
65. BLANK GENERATION - Richard Hell and the Voidoids (1977, Sire SR-6037)
Dick Hell could never be happy until he was calling the shots, and thus he
jumped ship from both Television and the Heartbreakers before getting his
own name in the title of a group. It took him the previous four years in
those bands to come up with the compositions found here, and some can be
followed on their developmental path through the years. The music thus had
time to evolve, which is good as Hell's greatest talent is as a clever
lyricist. Future Lou Reed sidekick Robert Quine helps things along
considerably with his unique guitar talents, and Marc Bell pounds the
between stints with Dust and the Ramones.
64. ACE OF SPADES - Motorhead (1980, Mercury SRM-1-4011)
Full throttle, balls out, take no prisoners, and all knobs to the right -
one of the most intense record I've ever heard. The songs are catchy to
boot. Lemmy plays bass chords and shouts from the back of his throat.
63. SONGS THE LORD TAUGHT US - The Cramps (1981, IRS SP 007)
Mutant rockabilly meets sixties garage noise meets horror movie sound-
tracks tracks, all backed with liberal doses of fuzz guitar and no bass to
be found. Motley Crue and Judas Priest should realize that this is what a
leather clad band is supposed to sound like.
62. NEW YORK DOLLS - New York Dolls (1973, Mercury SRM-1-675)
Not even Todd Rungren's production could muddy the kick of these songs. A
raw updating of the Rolling Stones rock-and-roll ethic, that easily
surpasses attempts by Aerosmith and Guns and Roses, presented by Johnny
Thunders (RIP), Jerry Nolan (RIP), Arthur Kane (MIA), David Johannson (aka
Buster Poindexter), and Sylvain Sylvain, whose guitar was lifted by Malcom
MacLaren and strummed by Steve Jones in the Sex Pistols. Don't let the
cover picture fool you.
61. THIS YEAR'S MODEL - Elvis Costello (1978, Columbia BL 35331)
Elvis used to have energy overload to back up the anger he still carries
around like a badge of honor. This is his first outing with the
Attractions, and the hopped up attitude demonstrates what a bunch of hacks
Huey Lewis' News are, who walked through the backing band roll on the
previous, debut album. "Radio Radio" is one of a handful of the greatest
rock songs of all time.
60. DUB HOUSING - Pere Ubu (1978, Chrysalis)
On the first listen, this record sounds as if it is a discordant mess,
with two guitars, bass, drums, and a synthesizer meeting head on with
David Thomas' aka Crocus Behemoth's (no, he's not in Gwar) sort of alto
warble singing style. But close listening, especially with headphones,
quickly reveals that there is a place for everything and everything is in
its place. It's a masterpiece of composition, as well as of mixing and
production, and after picking it apart you can put the whole back together
and find that the mesh produces some great rock-and-roll rhythms.
59. NUMBER ONE RECORD - Big Star (1972, Ardent ADS-2803)
Alex Chilton shows his real musical side after bailing on his forced Eric
Burdon imitation as the singer of the Box Tops. The music is clean, it's
it's sharp, it's clever, and it rocks. This is what REM wish they could
sound like.
58. SUPERFLY SOUNDTRACK - Curtis Mayfield (1972, Custom CRS-8014)
Superfly is high grade cocaine, not a guy in pimp drag. It's great that
when Sly finally went into the toilet, Curtis was there to carry on with
this great, groovy sound.
57. STANDING ON THE VERGE OF GETTING IT ON - Funkadelic (1974,
Westbound 1001)
The heaviest of the Funkadelic albums, and thus it's also the most Eddie
Hazel-influenced. I still haven't heard Sir Ed's solo album however, and
and if anyone can help me out please let me know.
56. FLIP YOUR WIG - Husker Du (1985, SST 055)
Du is another group whose recorded career can be placed on a sort of
linear progression. They moved from badly-recorded dissonant noise, to
above average punk, to the new rock sound, to an overproduced attempt
at major label success. This album, along with its predecessor "New Day
Rising," represents the midpoint, at which the distorted frenzy of the
music isn't cleaned up, but is tempered with catchy melodies. This is
their last independent label release. Husker Du made it possible for
bands like Nirvana and Smashing Pumpkins to be successful today.
55. SOUND EFFECTS - The Jam (1980, Polydor PD-1-6315)
The "new Who" start to expand their sound with touches of sixties soul for
this fourth record. The songs are still loaded with energy, which would
all but disappear by the time Paul Weller was into the Style Council and
his solo career. He's been trying to repeat the sound of this album
unsuccessfully throughout all of those later recordings.
54. HUEVOS - Meat Puppets (1987, SST 150)
Grab a giant brain dart, bake in the desert sun, and let your mind take
control. This has intricate but powerful picking, and truly psychedelic
lyrics from the Kirkwood boys. This is MY Grateful Dead.
53. $100 FINE - The Litter (1968, Hexagon HX-681)
An obscure Minnesota band who recorded on an obscure Minnesota label.
This has recently been reissued by none other than K-Tel. It is very
much the result of heavy duty guitar effects and studio experimentation,
which resulted in something on the border between sixties punk and heavy
psychedelia.
52. PLEASED TO MEET ME - The Replacements (1987, Sire 25557-1)
The last record with any integrity from Paul Westerberg. It's solid from
beginning to end and should have fit easily into rotation on AOR radio.
When that format proved too conservative to try anything that wasn't
completely contrived formula or twenty years old, a desperate for success
Westerberg attempted to give then what they wanted and sunk this band with
two terrible final releases.
51. SPECIALS - The Specials (1980, Chrysalis CHR 1265)
Most ska is like most reggae, it's great in the background but any attempt
at close listening reveals most bands to be largely indistinguishable from
each other. The Specials are absolutely an exception. Not only are their
beats backed up with bursts of punk derived guitar, but lyrically their
social commentaries provide added punch.
50. GO GIRL CRAZY - The Dictators (1975, Epic KE 33348)
This isn't punk rock, but rock made by punks - the closest thing to a real
Spinal Tap to crawl from the wreckage. At the time of this power chord
dominated debut the 'Tators could only barely play their instruments, but
the knew exactly what they wanted to say. A testament to idle youth and
their obsessions with cars, girls, wrestling, partying, and rock-and-roll.
49. ROAD TO RUIN - The Ramones (1978, Sire SRK-6063)
The early chainsaw pop style of the Ramones reached its peak with Rocket
to Russia, the LP which came before this. Wisely, rather than risk
retread, the boys added a bit of hard rock crunch to their sound and at
the same time came up with their most diverse collection of songwriting
styles to date. The lack of success commercially was extra unfortunate
(and to this day only "I Wanna Be Sedated" gets any attention from this
collection) as they continued to reach for a more saleable sound on their
next two records, End of the Century and Pleasant Dreams, with pretty
poor results. Marky graduates from the Voidoids and Dust to take the drum
chair for the first time.
48. THE EVIL ONE - Roky Erickson and the Aliens (1981, 415 Records 415A-0005)
The second acid casualty of this list (see Syd Barrett), Roky's decline
into his own cerebral cortex took more of a gradual path. Here he is, ten
years after the dissolution of the Thirteenth Floor Elevators, giving his
distinctive form of vocalizing to tales of demons, alligators, bloody
hammers, and the Creature with the Atom Brain. Roky has the unique vocal
ability to cram as many words as needed into a lyrical line without
destroying the meter or going out of tune. Interestingly, this proto-punk
sounding album was produced by Stu Cook from Creedence Clearwater Revival.
47. DAYDREAM NATION - Sonic Youth (1988, Enigma/Blast First 75403-1)
I'd seen Sonic Youth a few times over the years, thought that they ripped
live, but was never that much of a fan of theirs on record. Albums like
Bad Moon Rising and EVOL seemed to get a little to bogged down under their
own pretensions, so I wrote off SY as a studio band - until I heard
Daydream Nation. The starting point for this is Cale era VU, but through
out the layers upon layers of guitar noise the band definitely define
themselves. This double album is their most accomplished work. It's one
of those that takes a few listens to get into, but after digging in you'll
find a plethora of hooks and melodies within the chaos. Favorites:
"Teenage Riot" and "Total Trash."
46. MACHINE GUN ETIQUETTE - The Damned (1979, Chiswick 0067.068 [UK])
The Captain switches to guitar and shows that there's room for some
demented wailing within the confines of the Brit-punk genre. Brian James'
departure (soon to turn up in the Lords of the New Church with Dead Boy
Stiv Bators [RIP]) shipped out his power chord songwriting and replaced
it with Sensible's more garage styled leanings. The new sound makes much
better use of Vanian's undead vocals and Rat's Moonesque skin pounding.
45. SAFE AS MILK - Captain Beefheart (1967, Buddah BDM-1001(M),5001(S))
Van Vliet's LP debut isn't as convoluted as the weirdness heard on his
most notorious record, Trout Mask Replica, but it still veers all over the
rock spectrum, and displays Beefheart's distinctive multi-octave growl on
raw takes on blues, soul, psych, garage, and R & B. This one anchors his
singing to the most charged musical background on all of his albums.
44. CYCLE-DELIC - Davie Allan and the Arrows (1968, Tower DT-5094)
The king of the fuzz guitar on the last of his three sixties albums
featuring his band exclusively (not soundtrack LPs). The double neck
Mosrite roars through two sides of buzzing instro madness. "Cycle-Delic"
is probably the best thing that he did.
43. MEATY, BEATY, BIG AND BOUNCY - The Who (1971, Decca DL 79 184)
Bands such as the Buzzcocks and the Clash mirrored their elder countrymen
in that they delivered their primary musical statements early in their
careers, through series' of frequently-issued singles rather than a
cohesive album. This is the ancestor of Singles Going Steady and the
American version of the Clash, where UK issued 7"-ers are collected
together for US consumption. If "Call me Lightning" or "Disguises" had
replaced "Boris the Spider," this one might have hit my top twenty.
42. YOUNG, LOUD, AND SNOTTY - Dead Boys (1977, Sire SR-6038)
I was once making a compilation tape for a friend and included some things
from this record. A roommate's response was, "So you're bringing him down
huh?" Critics who are fans of seventies "punk" frequently rave about the
clever artiness of Talking Heads or Pere Ubu while retching at the fact
that the Dead Boys had to exist. When Cleveland's Rocket from the Tombs
disbanded there was a parting of the more avant-garde wing and the devoted
hard rockers. Crocus Behemoth and Peter Laughner started Pere Ubu while
Stiv Bators and Cheetah Chrome paid tribute to the Stooges with this band.
Liberal doses of hedonism and misogyny (even if tongue-in-cheek) make
this early metalcore dangerous for the overly sensitive.
41. KILLING JOKE - Killing Joke (1980, Malicious Damage EGS 109)
An early attempt to put an industrial edge onto hard rock. It sounds
incredibly angry before any lyrics even begin, with heavy, churning music
backing distorted vocals through a very overmodulated recording. Most
subsequent attempts to harness this much chaos fail, but this one doesn't.
Fans of Ministry, Prong, and Nine Inch Nails should give this a spin to
find out from where their heroes copped their sound.
40. NEVERMIND - Nirvana (1991, DGC 24425)
A groundbreaking record in that no previous punk rock album (and that's
what it is) ever hit number one in America. This is a descendent of
Black Flag and Husker Du, and achieved success unimaginable for its
style only a few years previous. Much more significant than anything
put out by Pearl Jam, the Grand Funk Railroad of the nineties. (If you
know what I mean by that, and I think that you do).
39. RAW POWER - Iggy and the Stooges (1973, Columbia KC-32111)
James Williamson offers no substitute for Ron Asheton's guitar emanations
from the deepest caverns of an LSD soaked mind, but Iggy's sneer has never
sounded better. One of the most influential recordings of all time,
despite David Bowie.
38. KICK OUT THE JAMS - MC5 (1969, Elektra EKS-74042)
A live debut album designed to catch the fury of the Motor City Five on
stage. It does a pretty good job. Elektra was stepping out on a limb
with the signing of the Doors and Love a few years earlier, but somebody
must have put something in somebody's drink to inspire the signings of the
Five and the Stooges. Neither Detroit combo lasted long, with the MC5
getting the boot after just this album when they didn't wish to cooperate
with the censoring of their trademark slogan "kick out the jams mother-
fuckers" in the recording, or some liner notes with a similar use of
the vernacular. What ever happened to the rest of the tapes from these
shows which didn't make it on to this record?
37. ORIGINAL RUMBLE - Link Wray (1989, Ace CH 924 [UK])
If the Meat Puppets are my Grateful Dead, then Link Wray is my Elvis. The
true king of rock-and-roll pioneered an electric guitar sound that is
omnipresent today. This collects the best of his mostly instrumental
output from his start in 1958, up through some recordings of new composi-
tions from 1989, which maintain his special verve. There are numerous
Link compilations and reissues made available in recent years, but this
one has the best collection of old and new tracks that I've seen.
36. IN TOO MUCH TOO SOON - New York Dolls (1974, Mercury SRM-1-1001)
The energy of Johnny Thunders' playing is even more apparent without the
muddy production found on the debut LP. Trashy good fun with elements of
everything from early sixties R&B to the Sticky Fingers era Stones to the
MC5 tossed into the mix.
35. L.A.M.F. - The Heartbreakers (1977, Track 2409 218 [UK])
Thunders and Nolan from the Dolls' next band packs on even rawer punch,
with a couple of years of NY punk behind them and David "Buster
Poindexter" Johnansson on his way to Vegas. The sound on the Track label
recording is pretty poor though, so look for the remixed version (with a
slight variation in songs) put out under the title L.A.M.F. Revisited by
Jungle (Freud 4) in 1984. Compare "Chinese Rocks" here with the
Spectorized mess on the Ramones End of the Century album.
34. TEENAGE HEAD - The Flamin' Groovies (1971, Kama Sutra KSBS-2031)
A unique Groovies sound that was brewing on the earliest records, and
which almost completely emerged on Flamingo, finally pops through on their
third LP. The roots music influences of Roy A. Loney and the guitar rock
influences of Cyril Jordan synergize into a sound with heavy doses of the
then current Detroit style kicking in as well. This is the last LP for
the original band, as after 1972's Slow Death EP, Loney was out and
Jordan led SF's best ever band in a Dave Edmunds produced sixties pop
meets new wave direction.
33. THE VELVET UNDERGROUND AND NICO - The Velvet Underground (1967, Verve
V6-5008)
Nothing had ever been heard like this before in 1967, and thus it was
almost completely ignored, with only a small contingent of degenerate
psychotics, paranoids, and dope heads knowing exactly where Lou was
coming from. Rock's greatest writer invites you along with him through
his world of smack, bondage, degradation and death. The music is lyric-
ally frightening and musically groundbreaking, with innovative uses of
distortion and dissonance that many have tried to imitate over the years
but none have succeeded in doing so. This is Lou's band and Lou's album,
and anyone who thinks John Cale or (especially) Andy Warhol was the
creative force has been in art school for too long.
32. BACK DOOR MEN - The Shadows of Knight (1966, Dunwich 667)
What if the Rolling Stones were even louder and snottier? Then they might
sound like this gang of teen primitives from suburban Chicago. The So'K
take the basic Stones rock-and-roll update of classic blues and R & B
and crank up the volume and distortion. This second release gets the nod
over the debut, which highlighted a minor hit cover version of Them's
"Gloria," due to better original material to go with the Jimmy Reed and
Willie Dixon covers. A live, sound board recording from a 1966 show at
the group's home base The Cellar, on the Sundazed label, has recently
surfaced - grab it while you can.
31. BEST OF THE STANDELLS - The Standells (1983, Rhino RNLP 107)
The Standells have been covered extensively in FUNHOUSE! #2, and more is
said about them in the garage punk article in this very issue. To briefly
summarize, they were the best of the LA based mid-sixties punk bands, and
accompanied their songs of sneering youthful defiance with some raw rock
and roll rave-ups. "Dirty Water" was the hit, and kicks off this
collection.
30. ALIVE - Kiss (1976, Casablanca NBLP-7020)
Wouldn't it be funny if these guys and their macho sexist swagger were
serious? Wait a minute, they are! Unlike like the Dictators, Spinal
Tap, or the Dead Boys, Kiss' musical bragging of scoring with the babes
and partying down weren't done tongue in cheek, and that's part of the
kick. There are plenty of heavy riffs in classics like "Strutter,"
"Hotter than Hell," "Black Diamond," and "Rock and Roll All Night" to
add to the fun. The best material from the group's first three records
is recycled with a rawer and less muddy sound, in a calculated and
career saving move. It was all downhill after this, a slow roll until
Alive II and then off the cliff.
29. EXILE ON MAIN STREET - The Rolling Stones (1972, RS COC-2-2900
The final offering from the '68-'72 period in which the Stones truly were
The World's Greatest rock-and-roll Band. They came full circle here, as
their early R & B swagger finally collides with their distinct style which
matured on Let It Bleed and Sticky Fingers. The Five were dissolved,
Iggy was on hiatus, the Modern Lovers' tapes were gathering dust in the
vaults, the Dolls were still slaving in the Bowery, and Townshend was
committed to excessive "rock operas," if such a thing can truly exist.
Exile was the only game in town at the time, and if this period hadn't
been so productive, the RSs probably wouldn't have carried through into
today's ca$h-in, megabuck$ $tadium tours.
28. NO WAY OUT - The Chocolate Watchband (1967, Tower DT-5096)
Garage punk acid rock psychedlia might sum it up, but it might be more
accurate to say that they just dropped some L, plugged in, put all knobs
to the right, and let everything else sort itself out. Ed Cobb's other
project ranges from tripped out instrumentals, to feedback doodlings, to
distorted chords, and even to a cover of "The Midnight Hour," all carried
with that Jaggeresque vocal sneer that so many American mid-sixties angst
combos went for.
27. PINK FLAG - Wire (1977, Harvest ST-11-757 [UK])
The first record from the British proto-Minutemen is a collection of brief
sonic outbursts of angular intensity whose sly observations should make
Devo proud. Don't confuse the sound of the reformed group with this, as
before the '79-'86 time of inactivity it was strictly guitar-bass-drums.
In fact, when the group toured the US after reforming, they hired an
interviewer's band whose only experience was in some college ghetto,
dubbed them Ex-Lion Tamer, and had them open the show with a performance
of this entire record, start to finish, to get it out of the way. Like
the Ramones, the bare bones approach may have been a technical necessity,
but also like those glue sniffers Wire make it work.
26. PLASTIC ONO BAND - John Lennon (1970, Apple SW-3372)
Lennon liked to play out his neuroses in public, and on this first solo
album (well, with music anyway) he puts his internal pain and suffering
on record for all to hear. It's confession time, but it's also raw,
primal, stripped down, no BS rock-and-roll which makes it clear who had
the edge in the previous band, when stacked up against Mr. McCartney's
wimp infested nonsense such as the contemporary "The Lovely Linda." Mac's
cover of "Mary Had a Little Lamb" was right around the corner. - 'nuff
said.
25. NEW DAY RISING - Husker Du (1984, SST 031)
A perfect pairing of Husker Du's twin driving forces occurs on this LP -
sheets of highly amplified layered guitar noise backed by a pounding
rhythm section, and compositions of hook driven pop songs that could make
it as bubblegum hits on AM radio if laid down by a commercial band. Their
unrelenting punk energy had been refining itself in the direction of this
marriage in their two previous records, the EP Metal Circus and the double
album Zen Arcade, but New Day Rising strikes the perfect balance.
Guitarist Bob Mould's later band Sugar achieve a similar balance with
their records, and would have probably cracked this list somewhere if they
weren't just a bit too recent.
24. EASTER EVERYWHERE - The Thirteenth Floor Elevators (1967, International
Artists IALP 5)
The next time some poser tries to tell you that the Jefferson Airplane or
the Grateful Dead is acid rock, toss this platter on and prove them wrong.
The grooves ooze trippines, with weird guitar noises, pro freak out
lyrics, and an electric jug backing up Roky Erickson's right on space
vocals - and it all rocks straight out of the garage, something those
hippie bands couldn't even comprehend. This sophomore release has the
edge over the even spacier debut, Psychedelic Sounds, for its slightly
better songwriting.
23. MORE FUN IN THE NEW WORLD - X (1983, Elektra 60283)
The Exene / John Doe harmonies are a unique diversion from most of the
third wave of punk bands, but it is Zoom's punk-o-Billy guitar which gives
this group the upper hand over most of the other LA late 70s / early 80s
punks and wavos. By the time of this fourth album they had learned to
stretch and diversify their early dark, urban, hard folk groove in a
variety of directions. Because all of these style experiments work, this
is a great album, and the clever lyrical twists are an added bonus.
22. MY GENERATION - The Who (1966, Decca DL-4664)
The teenage Who deliver a sound wound around slashing guitars and youthful
angst which was really unprecedented for its time. During this period
Townshend and company were truly the most innovative of the Brit invasion
era crew, as while there are hints of an R & B influence through such
touches as a couple of James Brown covers, this band was less beholden to
a blues or early rock-and-roll foundation than their peers. The explosive
energy of the Who's formative music really wasn't matched at the time, and
serves as one of the early pillars on which punk zeitgeist was built.
Shell out import prices and get the addition of "I'm a Man" and a longer
"The Kids Are Allright."
21. ZUMA - Neil Young and Crazy Horse (1975, Warner Brothers MS 2242)
The first LP with the Poncho Sampedro line-up of Crazy Horse to back Neil
serves up the clean and raw sound that would come to represent the sound
of Young at his most loud and primitive, up to the present day. The
intricate electric interplay of the two guitars continues on in the
releases Rust Never Sleeps, Re-ac-tor, Life, Ragged Glory, and Sleeps With
Angels, but this is where it began.
20. THE DAYS OF WINE AND ROSES - The Dream Syndicate (1983, Ruby JRR807)
While most members of LA's revivalist "paisley underground" were mining
Beatles-Yardbirds-Easybeats, or at their most adventuristic, Seeds
territory, the Dream Syndicate went straight back to the Velvet
Underground. They're much more guitar oriented than the retro-psych bands
they often shared bills with. The twin attack of Steve Wynn and Karl
Precoda, with their TV styled Fender-Marshall intensity, provides a
powerful backing for Wynn's haunting vocal Louisms.
19. ENTERTAINMENT - Gang of Four (1979, Warner Brothers BSK 3446)
The Marxist sympathies in the lyrics of these British post-punks don't
come off as annoyingly preachy, as they mainly serve as a framework for
some caustic and humorous observations on American cultural hegemony and
the British social condition. Commentary on corrupt governments, mindless
followers, unchecked consumerism and a deteriorating social order accomp-
any music which brings a heavy, funky bottom to a slash and burn guitar
sound that would fit in well on a Voidoids record.
18. THERE'S A RIOT GOING ON - Sly and the Family Stone (1971, Epic KE-30986)
If Sly's Stand! album is Woodstock, then this is Altamont. Sly woke up
the up morning after the flower power party, where everything and every-
body was groovy, and saw Nixon, Vietnam, and the ghetto. While Mr.
Stewert didn't "leave that bummer behind," he did produce a powerful if
subdued record, which is relentless in both its soulful funk and its
honest telling of the truth about "Luv n' Haight."
17. PRETENDERS - The Pretenders (1979, Sire SRK 6083)
Chrissy Hynde puts to rest the notion that a woman's place in a rock-and-
roll band is as some Laurie Partridge / tambourine player / go-go dancer.
Anybody whose roots are in White Light/White Heat and Raw Power has to
have her attitude in order. The songs are sharp statements of sexuality,
but one where Chrissy is in control and isn't adverse to a sharp FU if
necessary. The cover attempts to represent a spanning of the rock and
roll era through the dress of Farndon (50s), Hynde (60s), Honeyman Scott
(70s), and Chambers (80s).
16. MAGGOT BRAIN - Funkadelic (1971, Westbound 2007)
A spacified Eddie Hazel lays down acid soaked I-wanna-be-Jimi-isms with
his guitar to accompany George Clinton's most satisfying achievement from
the early stage of the P-Funk universe's existence. After George's
freak-out intro spiel and Eddie's emotional ten minute guitar work out on
the instrumental title cut, there are bits of funk, soul, gospel,
punk-metal, and a chaotic end of the world enactment called "Wars of
Armageddon." A perfect fusion of the riddum of Funkadelic's eponymous
debut, and the over-the-edge weirdness of their second, Free Your Mind and
Your Ass Will Follow. It was onto a more refined, but still great, sound
after this. There's nothing else like it.
15. RADIO CITY - Big Star (1974, Ardent ADS-1501)
Alex Chilton's post-Box Top band delivers some straightforward, non-agro,
basic rock-and-roll, which is thankfully free of the sappiness, over
production, and pretentiousness that all to often infiltrated the more
reserved rock music of the time. There are just a couple of clean
electric guitars, bass, drums, and some incredibly earnest singing to
translate the great songwriting. Like the Lennon album above, this is a
testament to the fact that it's possible to rock with a pared down
approach.
14. HIGH TIME - MC5 (1971, Atlantic SD-8285)
Each of the first two MC5 records have their problems. On the first, the
live format certainly demonstrated the intensity of the band, but that
format had its reservations as to production possibilities. The follow-
up, Back in the USA, suffers from too much production, as future Boss
manager Jon Landau tried too hard to score a radio hit for Atlantic, their
new label after the Five were dumped from Elektra for encouraging a
boycott of their own record (over the label's censoring of the word "fuck"
- still a no-no at the time). On High Time, (from which the dope mag took
its name), the dudes knew that the end was near, and the expectations borne
of the hype were gone. Without the pressure, they assembled their most
complete work, which best captures the twin blast rock-and-roll assault
of guitarists ("Let me tell you 'bout") Wayne ("and his deals with
cocaine") Kramer and Fred "Sonic" Smith, which was the essence of the
band's sound.
13. LET IT BE - The Replacements (1984, Twin Tone TTR-8441)
Another record which is a songwriting triumph. After the raunchy trash
punk of their first two records, the 'Placements began to show some
diversity on Hootenanny, their third. This album takes another giant
leap forward, and demonstrates Paul Westerberg's new found ability to
balance his comic angst rock approach with bits of subtlety and craft,
without losing the music's rawness, its humor, or its honest energy. It
was on to the majors after this, and a great deal more production. Two
more quality records came out before a final pair, which represent one of
the most disappointing collapses in recorded history, as Westerberg
cranked out AOR dreck in a sad attempt at FM radio acceptance.
12. LONDON CALLING - The Clash (1979, Epic E2 36328)
The Clash were more successful, artistically and eventually commercially,
than their Brit First Wave competitors as they were able to harness their
punk attitude and intensity and progress in their music. This double LP
is the validation of this move, which had been suggested in the band's
preceding seven inchers. Keeping the angry sociopolitical lyrics, they
refined their musical attack, relying on more rhythms and especially the
heavy beat of Paul Simonon's bass. It was recorded with the production
of Guy Stevens, who oversaw the early, hard rock days of Mott the Hoople
(a Mick Jones favorite). There's not a bad track over the four sides, and
it even opened the door for the group in America with the top forty hit
"Train in Vain."
11. WALK AMONG US - The Misfits (1982, Ruby JRR 804)
Earth Vs. the Flying Saucers meets The Angry Red Planet on the cover, and
inside Vampira can be found hooking up with The Brain Eaters and The Astro
Zombies on The Night of the Living Dead. Proof that Glen Danzig can use
his powerful vocal skills for more than the phony satanic metal that gets
him on Beavis and Butthead these days. The horror flick schlock rock pose
is backed up by hardcore music, with a considerable amount of satisfying
hooks, that keeps your head banging.
10. MARQUEE MOON - Television (1977, Elektra 7E-1098)
The is one of the best guitar records of all time. If you're stuck in a
Yngwie Ray Satriani glut it may not be your cup of tea, but these songs
offer some of the most exciting interplay of twin leads that you can find.
Rather than being self serving, as is the style of those "guitar heroes,"
the playing on this by Tom Verlaine and Richard Lloyd is built around the
creation of a good song - and you can dance to it. Verlaine's quivering
vocals are definitely secondary to the music.
9. MODERN LOVERS - Modern Lovers (1974, Home of the Hits HH-1910/Beserkley
BZ-0050)
Jonthan Richman is the godfather of straight edge. These John Cale
produced tracks were recorded three years before they were finally rescued
by the HOTH label. Perhaps in the time of Floyd, Yes, and the Mighty Led
Zep, no one thought that the stripped down rock of the Modern Lovers, with
Richman's musings on the joys of being straight, looking for a girlfriend,
living in the suburbs, and driving to the sounds of the car radio, were of
any interest to anyone. A respite from all of the pseudo-seriousness for
some good clean fun would have done everybody some good. Future T-Head
Jerry Harrison is on keys.
8. SINGLES GOING STEADY - Buzzcocks (1977-80, IRS SP 001)
It takes a lot for me to convince myself to put a compilation record in a
list like this, especially when a group's albums are indeed quality stuff.
However, like the Who with Meaty Beaty Big and Bouncy, the music on this
comp is made by a definite singles band. Each track is a blast of hyper-
melodic, raw angst, but each is also a skillfully crafted pop song. The
Buzzcocks had the volume and distortion, and the timing of their exist-
ence, to warrant their lumping in with the Damned, the Sex Pistols, and
the Clash as the first of the British punk bands, but their University
background, separation from London (as they were Manchester based), and
their penchant for taking LSD in the recording studio all contribute a
certain detachment from those angry youth.
7. NEUROTICA - Redd Kross (1987, Big Time 6034-1-B)
Tommy Ramone's production brought out the real essence of this band,
previously hinted at on the cover tune EP Teen Babes From Monsanto. It's
not quite metal, not really psychedelic, almost garage, and rooted in
punk. This album would be at home in 1966, in 1977, in 1992 - but not
really in 1987, which might be why it was barely noticed other than by
long time fans. Guitars charge, riff, wail, jam, solo, and create a
cranking rock-and-roll backdrop to hysterical pop culture observations on
Sunset Blvd. hair-metal types ("move to Fresno, grow a mutant afro"),
McKenzie Phillips ("McKenzie baby you blew your mind..."), and the caste
conscious LA scene ("no metal sluts or punk rock ruts for me").
6. DAMAGED - Black Flag (1981, Unicorn/SST 9502)
All you Hank-haters out there have to give it to him for his performance
on this. After Dez moved from vocals to second guitar, Flag rescued
Rollins from behind the counter of an ice cream shop, and used him on
Damaged where his vocal intensity registers a ten. Being basically
nothing previous other than a fan, as his DC band SOA were strictly local,
meant that no rock star attitude had yet taken over, and being young meant
that his anger was real rather than a pose. It is still Greg Ginn's
writing and jackhammer guitar blasts which drives this thing throughout.
It's a document of pent up youthful anxiety so real that MCA, who were the
record's original distributors, dropped it; and act which led to a court
case which kept new Black Flag material off the shelf for three years.
One exec's comment, "As a parent I found it to be an anti-parent record,"
was plastered onto some early copies. Some import versions have the
band's excellent take on "Louie Louie," from a Posh Boy single, tacked on.
5. LOADED - The Velvet Underground (1970, Cotillion SD 9034)
Having defined themselves, redefined themselves, and then reached a point
where the end was undoubtedly near, and with the pressure off, the VU
recorded their most accomplished, most mature, and most complete album.
After the experimentation of the first record, the attempt to push beyond
the boundaries broken there with the follow-up White Light/White Heat, and
the subtle reaction to those two in the understated Velvet Underground LP,
Lou Reed was in a mood to establish that he was, after all, a true rock
and roller. And as much as Doug Yule may have thought otherwise, he was
not the force that John Cale had been in driving the music in a certain
direction, and thus the sound of this album is all Lou. It is the most
conventional and structured of all of the group's records, but to make
an album that is the pinnacle of a style one must work with in that
realm, and this is the only example of the VU dedicating themselves
completely to straight rock. In fact it is so much as stated so in the
third track, the second most well known Velvet Underground song "Rock and
Roll," which follows their most well known song, "Sweet Jane." These are
amongst the mellower moments on a trip which includes "Head Held High,"
"Cool It Down," and "Train Comin' 'Round the Bend." Artier types may miss
the rule breaking of the Cale era stuff, but this album rocks hard, and
it's right on target the whole way.
4. DOUBLE NICKELS ON THE DIME - The Minutemen (1984, SST 0028)
On the cover Mike Watt is cruising 55 in the fast lane, heading for the
Pedro turnoff - that sets the pace for a record which always goes the
limit. There are 45 songs over four sides with an average length of
somewhere around a minute and a quarter each. These dudes are the
absolute antithesis of Yes and their pretensions. The trio are lead by
the sharp, jagged guitar of D. Boon, which is all over the place stylis-
tically but never slows down. The rhythm section of Watt and drummer
George Hurley is both intense and complex. The sound of the Minutemen
is really impossible to describe, except to say that they produce concen-
trated sonic blasts which musically and lyrically get right to their
points and then move on to the next. Elements such as choruses or intros
are treated as superfluous by a band for who economy is a key word. Their
to-the-point nature can be summed up by the fact that the lyrics to every
song, except for a handful of covers and instrumentals, are printed on one
half of the back cover. They jam econo.
3. ROCKET TO RUSSIA - The Ramones (1977, Sire SR-6042)
All of the first three Ramones albums are essential for their high energy,
chainsaw, sledgehammer, minimalist PR from which so much do-it-yourself
inspiration was drawn. Rocket to Russia is the third of these, and repre-
sents the boys getting everything just right before moving out of their
initial mode for better (Road to Ruin) or worse (End of the Century).
This is the best because everything clicks, the playing, Tommy's hand in
the production, and a great batch of tunes. If you ain't hip to the
Ramones beat I can't clue you in with words, if you are, a run down of the
tracks will tell you why this is the best: "Cretin Hop," "Rockaway Beach,"
"Here Today, Gone Tomorrow," "Locket Love," "I Don't Care," "Sheena is a
Punk Rocker," "We're a Happy Family," "Teenage Lobotomy," "Do You Wanna
Dance?," "I Wanna Be Well," "I Can't Give You Anything," "Ramona,"
"Surfin' Bird," and "Why is it Always This Way?"
2. THE CLASH (US version) - The Clash (1979, Epic JE 36060)
The US version wasn't released until two years after the UK debut by The
Only Group That Matters, leading to the latter holding the title of all
time best selling import for awhile in America. Epic's ignorant opinion
that the sound was too raw and unrefined for Yank tastes is laughable (in
fact, they opted to bring in BOC studio main man Sandy Pearlman to clean
the band up for their US debut with Give 'Em Enough Rope), but it did
lead to a better record when some material from singles issued over the
intervening years was substituted for a few of the weaker cuts. "Clash
City Rockers," "Complete Control," "White Man In Hammersmith Palais," "I
Fought the Law," and "Jail Guitar Doors" replace "Deny," "Cheat," "Protex
Blue," and "48 Hours." The seven inch version of "White Riot" is also
substituted for the British LP cut, and original copies contained a white
label bonus single with "Gates of the West" and "Groovy Times" from the
Cost of Living EP. It is raw and underproduced by the standards of the
typical corporate A & R hack, but it also is the greatest British punk
record of all time.
1. FUN HOUSE - The Stooges (1970, Elektra EKS-74101)
This zine isn't named for it because I don't like it! It builds, it
surges, and it piles on intensity, as the tripped out, extra-amplified
Asheton guitar psychosis and the Ig's guttural growl reach toward some
peak, through "Down on the Street" to "TV Eye" to "Loose" to "Dirt" to
"1970," after which the ONLY result possible is self-implosion on top of
the album's own excesses. Everything comes crashing down in the form of
the dissonant "Fun House," which is the point where the angst finally
succumbs to its own weight, and finally the cacophony of "L.A. Blues,"
which represents the hazy confusion of the next morning's hangover. Steve
Mackay's Coltrane inspired sax comes in and out of the mix, and somehow
after the build up of the record's first side and a half it all seems
right - there's nothing else that COULD be done. This record is the roots
for all of the punk and post-punk metal that is heard today.
Jeff Frentzen's Sleaze Film Source List
---------------------------------------
First edition - August 28, 1994
By Jeff Frentzen
Contributors: Jeff Dove, Jan Borgelin, Stuart Lerner, and Bernd Backhaus
TRASH CINEMA SOURCES is a response to one of the most common questions on the
Internet's alt.cult-movies newsgroup: "Where do I find it?" Information about
obscure horror / sci-fi / fantasy movies not covered in the mainstream press,
as well as sleaze/cult movies, is hard to find. You can't go down to the
local Waldenbooks magazine rack and pick up the latest issue of, say,
Psychotronic Video. For those of you in the U.S. who live near a Tower
Records / Video store, consider yourself lucky - Tower carries some of the
publications listed here.
We've also compiled a list of sources for the trash-movie collector. For
example, you can't find an uncut version of Dario Argento's PHENOMENA (aka
CREEPERS) at Blockbuster Video; they only carry the R-rated, cut version. But
if you wanted to own (or rent) that uncut version, there are places to get it,
and we've listed some of those places here.
Most of this list is North America-centric, although Europe is represented
slightly. We know there are more international sources than we've listed. If
you don't see a trash-cinema source that you feel ought to be here, drop us a
line. We'll include it in the 2nd edition. Prices are listed for U.S.
dollars and British pounds, where appropriate.
Every attempt was made using limited resources to verify information or
double-check sources. There are bound to be mistakes, so please let us know
when you find them. Some listings include information about content and
quality of service. If you have anything to add, please write. We've included
some sources for Hong Kong, Japanese, and other Asian films. We have included
only a few Anime sources. Steve Pearl's extensive Anime sources document is
posted in the Usenet newsgroup rec.arts.anime.
---------------------------
Contact us on the Internet:
---------------------------
Jeff Frentzen (jfrentzen@pcweek.ziff.com)
Jeff Dove (jeffdove@well.sf.ca.us)
Jan Borgelin (jborge@sara.cc.utu.fi)
Stuart Lerner (lerner@netcom.com)
Bernd Backhaus (bbbo.ping.de!bernd@jwd.ping.de)
========================================================
CONTENTS
Publications -
Magazines / fanzines / special publications
Video -
Obscure horror / sci-fi / fantasy / trash on tape that you can purchase
Video rentals by mail -
Obscure horror / sci-fi / fantasy / trash on tape that you can rent
Looking for more information -
Sources we've heard of but could not confirm for inclusion in this issue
========================================================
Publications
Magazine/fanzine name and address is followed by the price. Sometimes the
only price we've been able to confirm is the per-single-issue price. It's
likely that a few of these pubs have bitten the dirt, so if you know that one
has gone away, please let us know and we'll take it off the list.
------------------------------------
3AM
152 W. 3rd St.
Oil City, PA 16301
$2.00
#15 -- Movie reviews
Alternate Cinema
Tempe Press
P.O. Box 6573
Akron, OH 44312
Fanzine devoted by low-budget filmmaking
#1 -- Ozone; Bookwalter films
Asian Eyes
253 College St. #108
Toronto M5T 1R5, Ontario
Canada
Hong Kong action flicks (May have ceased publication)
Asian Trash Cinema
P.O. Box 5367
Kingwood, TX 77325
Digest-sized magazine devoted to Far East sleaze
Blood Feast Inc.
6506 Glencoe Ave.
Brooklyn, OH 44144
$4.50
"News from the world of filmic gore and musical gore-core."
Blood Times
P.O. Box 3340 Steinway Station
Long Island City, NY 11103
$3.00
Vol 2, No 2 -- Edgar Wallace; Jean Rollin; Ultra Q
Bloody Horror Fanzine
P.O. Box 243
Winnetka, IL 60093
$2.00
#1 - Movie reviews
Book of the Dead
Media Publications
26 Salford Rd., Old Marston
Oxford OX3 0RY
U.K.
UK6.00
#4 - Living Dead movies; Armando De Ossorio interview
Bruce on a Stick
P.O. Box 416
Tarrytown, NY 10591
$3.00
Bruce Campbell fanzine; Includes movie reviews
Camera Obscura
Kloosterstraat 38
9717 LE, Groningen
The Netherlands
$5.00
#5 -- Jean Rollin; Laura Betti; Asian films; Movie reviews
Children of a Far Greater God
221 Ashmore Rd., 2nd floor
Queens Park, London, W9 3DB
U.K.
UK4.00
China in Your Hand
M.J. Simpson
Flat 3, 113 Litchfield St.
Hanley, Stoke-on-trent, Staffs ST1 2EB
U.K.
UK2.00
#1 - Extensive Frankenstein filmography
Cinefantastique
P.O. Box 270
Oak Park, IL 60631
$10 or so per issue
Still going strong
Cineraider
P.O. Box 240226
Honolulu, HI 96824
$4.00
Formerly "Skam" magazine
#1 -- Asian movie
reviews; HK films; Sex and Zen; American theatres that
show HK films
#2 -- 1993 HK movie round-up
Critical Condition
215 B Overmount Ave.
W Paterson, NJ 07424
$9/4 issues
#6 -- Harry Novak; Retitled movies
Crud Bomb
103 Boulton Hall
S.U.N.Y. New Paltz
New Paltz, NY 12561
$1.00
#1 -- Bigfoot movies
Cult Characters
1799 Batview Dr.
Fort Wayne, IN 46815
$4.00
Devoted to little-known character actors
Cult Movies
6201 Sunset Blvd.
Los Angeles, CA 90028
$18/4 issues
#11 -- Ed Wood interviewed by Fred Olen Ray; Movie reviews
The Dark Side
Stray Cat Publishing
P.O. Box 146
Plymouth PL1 1AX
U.K.
UK2.50
#41 - Mummy movies; Paul Naschy interview; Sam Sherman. One of the
better British-made magazines, with the accent on accurate info and
wild color layouts.
Dark Terrors
Ventor Tce
St. Ives, Cornwall TR26 1DY
U.K.
Devoted to Hammer films
Delirium
Media Publications
26 Salford Rd., Old Marston
Oxford OX3 0RY
U.K.
UK8.00
#2 -- Italian exploitation films
Delirious: The Fantasy Film Magazine
1326 Cleveland Hts Blvd.
Cleveland, OH 44121
$3.50
Academic look at space / horror / fantasy / B movies
Dreadful Pleasures
650 Prospect Ave.
Fairview, NJ 07022
$10.00/5 issues
"Concentrating on films released in the 70's to backwoods drive-ins and
sticky-floored downtown rundown theaters."
Draculina
P.O. Box 969
Centralia, IL 62801
$3.75
#18 -- Norman Thaddeus Vane; Scott Shaw
Dragon Fury
332 Ocean Ave.
Ocean City, NJ 08226
$3.00
Devoted to Asian action flicks
Eastern Heroes
P.O. Box 409
London SE18 3DW
U.K.
US$6/issue (for U.S. customers)
Asian action flicks.
Ecco
Kill-Gore Productions
P.O. Box 65742
Washington, DC 20035
$12/4 issues
#18 -- Barbet Schroeder
#19 -- Mexi-movies and dubbing
Epi-Log
P.O. Box 1322
Dunlap, TN 37327
(615) 949-4443 (fax)
$5.95/$30 for 6 issues
"The Television Magazine of Science Fiction, Fantasy, Comedy, Drama,
and Adventure"
Full episode listing and detailed plot summaries of all types of shows;
Thorough and detailed
Essential Cinema
2011 5th Ave., #301
Seattle, WA 98121
$3.75
The Exploitation Journal
40 S. Brush Rd.
Valley Stream, NY 11581
$3.00
#16 -- Paul Naschy; Leon Klimovsky; Rene Cardona; Santo
Exploitation Retrospective
P.O. Box 1155
Haddonfield, NJ 08033
$1.75
#37 -- Zoe Lund; Danzig; Movie reviews
European Trash Cinema
P.O. Box 5367
Kingwood, TX 77325
$20/4 issues
Vol 2 No 8 -- Trauma; Jean Rollin interview and filmography; Brigette
Lahaie; Claude Chabrol
Famous Monsters of Filmland
P.O. Box 9669
N. Hollywood, CA 91609
$5.95 plus $2.00 postage
They're up to #202. The magazine that would not die.
Fangoria
475 Park Ave. S.
New York, NY 10016
$4.95
Long-running magazine devoted to horror / gore / special effects.
Fatal Visions
P.O. Box 133
Northcote, Victoria 3070
Australia
$4.50 ($6.00 for U.S. residents)
No subscriptions available outside of Australia
#15 -- Ringo Lam; Ari Roussimoff; Movie reviews
#16 -- Lance Henrikson; Ren & Stimpy; Betsy Blood; Asian movies
Femme Fatale
5023 Frankford Ave.
Baltimore, MD 21206
(410) 488-8147
published quarterly, annual subscription $18
Full-color; "Insider" articles on B-film "scream queens;" With
interviews and photos
Filmfax
P.O. Box 1900
Evanston, IL 60204
$25/6 issue
Slavish devotion to classics and old B-movies. Sometimes they
reprint articles from other publications. Sinister Cinema advertises
their catalog here. Filmfax has an extensive list of TV shows / movies /
serials for sale.
Film Threat
Film Threat Video Guide
P.O. Box 3170
Los Angeles, CA 90078
$12/4 issues
The Film Threat Video Guide is a "must-have" review of obscure and
independent productions. The monthly, Film Threat, is a routine
Hollywood movie magazine.
Flesh and Blood Media Publications
26 Salford Rd., Old Marston
Oxford OX3 0RY
U.K.
UK7.00
#2 - British horror films (1970-72)
G.A.S.P. etc.
P.O. Box 661
Brockton, MA 02403
$3.00
#1 -- Gunnar Hansen; Sepultura
#2 -- Bruce Campbell; Whoregasm
#3 -- Night of the Living Dead; Emtombed
#4 -- Kane Hodder; Henry Manifredi; Gwar; Prong
Giallo Pages
On Line Publishing
P.O. Box 134
West PDO, West Nottingham, Ng7 7Bw
UK2.50
$9.00 US (Cash only for sample issue)
#3 -- John Morghen; Quentin Tarantino talks trash movies; Movie reviews;
Lucio Fulci and Franco Nero interviews; Barbara Steele
#2 is sold out; #1 is available
Gore Gazette
643 Bloomfield Ave.
Nutley, NJ 07110
$13/12 issues
Grind House
P.O. Box 1370
Murray Hill Station
New York, NY 10156
$7/6 issues
#13 -- Movie reviews; Ultra-low budget schlock
Headpress
P.O. Box 160
Stockport, Cheshire, SK1
4ET
U.K.
UK7.00
Highball
Kronos Publications
MPO Box 67
Oberlin, OH 44074
(216) 774-1825
"A heady cocktail of pleasure and pain." It focuses on sixties nudie /
/ kinky / roughie films.
#1 -- Dave Friedman; Lee Frost; Barry Mahon; Ted V. Mikels; Lots of
reviews.
#2 -- David McGillivray contributes; free flexi featuring the Mono Men
plus another band
#2/#4 of Monster! International -- A different #2; A dual issue which
focuses on sleazy / nudie horror; Jean Rollin, Jess Franco, Man or Astro
Man flexi; $6.95
Hong Kong Film Connection
P.O. Box 867225
Plano, TX 75086
$12/10 issues
#4 -- Clarence Ford; Wong Fei Hong; Asian movie reviews
Hong Kong Film Monthly
601 Van Ness Ave. #E3728
San Francisco, CA 94102
HK movie articles, mainly concentrated on what's playing in San
Francisco and Berkeley (Calif).
Horror Pictures Collection Series
Gerard Noel
90 Rue Ghandi
46000 Cahors, France
$6.00
Best to order this through Fantaco, Titan, or Psychotronic Video
Imagi-Movies
P.O. Box 270
Oak Park, IL 60303
Journal covers the making of fantasy films; Spin-off of Cinefantastique
The Joe Bob Report
P.O. Box 2002
Dallas, TX 75221
Free issue on request
16-page bi-weekly full of charm
The Kaiju Review
301 E. 64th St. Suite 5F
New York, NY 10021
$10/4 issues
For serious lovers of Japanese monster-movie films and collectibles.
#4 -- Japanese monster movie memorabilia; Utraman trivia
Killing Moon
Draculina Publishing
P.O. Box 969
Centralia, IL 62801
(618) 532-8813 phone/fax
#1 -- interviews, articles, and many photos
Kinokaze Exploding Cinema
295 Wendover St.
London SE17
2UW
U.K.
UK1.50
Underground movie magazine.
Laser's Edge
P.O. Box 1092
N. Baldwin, NY 11510
Laserdisc review zine.
Magazines of the Movies
45 Killybawn Rd.
Saintfield, Ballynahinch
Co Down NI BT24
7JP
U.K.
UK6.95
Annual guide to magazines and fanzines about movies.
M.A.M.A.
6635 DeLongpre #4
Los Angeles, CA 90028
$10/4 issues
#32 -- Steve James; Movie reviews
Midnight Marquee
9721 Britinay Lane
Baltimore, MD 21234
$5.95
One of the oldest fanzines, previously known as Gore Creatures, and
getting a bit repetitive.
#45 -- 70s vampire films; Christopher Lee interview; Erotic horror
movies; Murray Kinnell; Movie reviews
Monster! International
Kronos Publications
MPO Box 67
Oberlin, OH 44074
(216) 774-1825
$5.95
"100% creature features - no slashers." A pretty dense and well-written
zine centered on monster pics from Asia, Europe, and Mexico.
#3 -- Very detailed Jose Mojica Marins article; Exorcist films
#4/#2 Highball A dual issue which focuses on sleazy / nudie horror; Jean
Rollin, Jess Franco, Man or Astro Man flexi; $6.95
Monster Maker Journal
The Organization of Amateur and Professional SPFX Make-up Artist's Magazine
Davis Enterprises
75 Driftwood Lane
Stafford, VA 22554
$24/year
Detailed photos, with many tips for practical application.
Necronomicon
15 Jubilee Rd
Newton Abbot, Devon, TQ12 1LB
U.K.
$20/3 issue subscription to U.S. residents;
Tower Records carries this at $5.75 per quarterly issue
#4 -- Matador; Enzo Castellari; Cicciolina; Movie reviews; BBFC censors
#5 -- Venus in Furs (Dallamano version); Umberto Lenzi interview;
Monika M; Movie reviews
Oriental Cinema
P.O. Box 969
Centralia, IL 62801
$15/4 issue
$3.25
#2 -- Live-action robots; Super heroes; Asian films; Amy Yip; Angelo Mao
Oriental Cinema and Video
Damon Foster
P.O. Box 576
Fremont, CA 94537
$6/issue
More Asian action flicks.
Parts
451 Moody St. #134
Waltham, MA 02154
$10/4 issues
The world's only Jeffrey Combs fanzine, it covers other subjects too.
Peripheral Visions
28 Hillside Ave.
Kilmacoln, Renfrewshire
PA13 4QL Scotland
UK2.95
#1 -- Movie reviews
Phantom of the Movies' Videoscope
Phanmedia
P.O. Box 31
Keyport, NJ 07735
$4.00/sample issue
Vol 2 #10 -- Serial Mom; Spaghetti westerns; Nightmare Alley
Psychotic Reaction
50 Wingfield Rd.
Great Barr, Birmingham, B42 2QD
U.K.
UK5.50
Psychotronic Video
3309 Rt. 97
Narrowsburg NY 12764
(914) 252-6803
$22/6 issues
One of the best
#18 -- Robert Clarke; Dario Argento, Steve James; William Rotsler;
Movie-music-book reviews; Most back issues available
Quatermass
Javier Romero
Apdo. 5100
48009-Bilbao, Spain
$7.00
#0 -- Spanish-language; Hammer movies; Naschy
Samhain
77 Exeter Rd.
Topsham, Exeter, Devon, EX3
0LX
U.K.
US$20/5 issues
U.S. customers send $1 cash for a sample issue
One of Britain's longest-running magazines; Glossy but thin
Savage Underground
P.O. Box 4011
Capitol Heights, MD 20791
$4/4 issues
Reviews of unusual underground films and banned educational films like
LSD-25.
Scarlet Street
P.O. Box 604
Teaneck, NJ 07666
(201) 836-1113
$5.95/$20 for 1 year subscription
Good quality, loaded with in-depth articles and interview; Latest
issue includes a good piece on director Val Guest
Schlock
3841 4th Ave. #192
San Diego, CA 92103
$3.00
#10 -- First half of biker flick article from FUNHOUSE! #2, which will
conclude in #12; Movie reviews
Scream
409 S. Franklin St.
*** NOTE: other sources give this address:
490 S. Franklin St.***
Wilkes-Barre, PA 18702
$5.50
#1 -- Uncle Ted; John Russo's Booby Hatch Manifesto; Blaxpolitation.
Limited ed.; May be sold out.
#2 -- The Man Who Laughs; Peter Jackson interview; Zacherley; Tetsuo 2;
Jorg Buttgereit
#3 -- Jodorowsky films; Danny Mills interview; GG Allin.
#4 -- Sam Sherman; Dario Argento; Bloodsucking Freaks; Brian Yuzna.
Scream Queens Illustrated
Imagine Inc.
20 Market Street
Pittsburgh, PA 15222
(412) 921-8777
quarterly $5.95
The title tells all -- Glossy photos of topless actresses, also with
brief articles.
She
20 St. Patrick St. #1004
Toronto M5T 2Y4 Ontario
Canada
$4.00
#5 -- HK femme stars
Shemp
1919 Evergreen Park Dr. SW Apt. 79
Olympia, WA 98502
Send SASE for sample
#6 -- 76-page reviews of music / video / etc.
Shock Cinema
P.O. Box 518
Peter Styvesant Station
New York, NY 10009
$4.00
#6 -- Wall-to-wall movie and book reviews; HK films; Thorough and
well-researched
Shocking Images
P.O. Box 7853
Citrus Heights, CA 95621
(916) 334-7026
$3.95
Vol 1 # 3 -- Movie reviews; Nick Zedd; Coffin Joe; Rudy Ray Moore;
Asian videos
Sticky Carpet Digest
163 Third Ave., Suite 235
New York, NY 10003
$1.50
Strange Adventures
13 Hazely Combe
Arreton, Isle of Wight
PO30
3AJ
U.K.
UK5.00
#46 -- Horror / SF media review zine
Sub-terrenea
47 Thorncliff Pk. Dr. #609
Toronto M4H 1JS Ontario
Canada
$4.00
#9 -- Peter Jackson; Quentin Tarantino; Dr. Lamb; Movie reviews
Tame
P.O. Box 742 Station Q
Toronto M4T 2N5 Ontario
Canada
$6.00
Formerly "Killbaby" magazine
#1 -- Jack Taylor interview; movie reviews
Trash Compacter
253 College St. #108
Toronto M5T 1R5
Ontario
Canada
$3.75
Detailed journal devoted to exploitation movies
Vol 2 No 6 -- Blaxploitation issue
Back issues have dealt with hippie flicks, John Ashley, rubber-monster
suit movies, Ed Wood and the like. (May have ceased publication).
2000 Maniacos
Apdo.
5251
46009 Valencia, Spain
450 ptas.
#12 -- Tobe Hooper; Peter Jackson; Narcisco Ibanez Serrador;
Spanish-language
Ungawa!
P.O. Box 1764
London NW6 2EQ
U.K.
US$6/sample issue
Enthusiastic mix of true crime, trashy movies, and sex.
Vampyres
Tim Greaves, Palmyra
118 High St.
Eawstleigh, Hants S05 5LR
U.K.
UK7.00
One-shot devoted to lesbians in vampire films.
Video Ooze
P.O. Box 9911
Alexandria, VA 22304
$5.00
#5 -- Elizabeth Bathory films; Movie reviws; Suzy Kendall
Video Watchdog
P.O. Box 5283
Cincinnati, OH 45205
(513) 471-8989
$24/6 issues
Movie reviews; Retrospective articles on "buried classics"; Extensive
devotion to tracking down video retitlings; Well-written. Get the
Video Watchdog book.
Wonder
The Children's Magazine for Adults
2770 Fairlane Drvie
Atlanta, GA 30340
$15/4 issues
Long, well-researched articles for the afficionado; Detailed articles
on classic horror and sci-fi; Published twice annually
World of Fandom
P.O. Box 9421
Tampa, FL 33604
(813) 933-7424
(813) 238-4643
Articles, reviews and interviews; Mostly an insider's view of fandom;
Some movie-related information
Xenorama
4540 Maple Ave. #141
La Mesa, CA 91941
$9/6 issues
The Journal of Heroes and Monsters
Zine Shock
Ap. 16056
08080 Barcelona,
Spain
350 ptas.
#4 -- Mondo movies; Henenlotter; Tetsuo
===================================================
Video
Same format as above - Company name followed by address. Phone numbers are
listed, when we could verify the info. Each company has a different policy
regarding payment, returns, etc. All offer NTSC-format VHS tapes unless
otherwise noted. Many of these firms do not accept credit cards. Nearly
all of the U.S. firms charge an outrageous amount of money to overseas
buyers.
----------------------------------------------------
Aardvark Video
612 N. High St.
Columbus, OH 43215
(614) 461-6302
Foreign, classic, and cult titles; They also rent
Absolute Beta Videos
P.O. Box 130
Remington, VA 22734
(703) 439-3259
Beta-format titles only; Catalog / club membefrship $9.95; Newsletter;
$3.95 p/h per order; Credit cards accepted
Alternative Videos
837 Exposition Ave.
Dallas, TX 75226
(214) 823-6030
Specializes in Afro-American titles; Free catalog; Rental service
available (expensive); Has rental store in Dallas
Astral-Ocean Cinema
P.O. Box 931753
Los Angeles, CA 90093
Erotic; Asian; 85-page Asia-Blue catalag for $3.00
Audubon Film Library
P.O. Box 7883
New York, NY 10150
Radley Metzger; Exploitation titles
Blackest Heart Video
1275 Washington Ave., Suite 360
San Leandro, CA 94577
Blood Times Video
P.O. Box 3340 Steinway Station
Long Island City, NY 11103
(718) 972-6737
Eurpoean and import titles; Catalog $2.00; Prices $12-25; $2.00 p/h
per title; They carry some titles that no one else has; Slow to respond
Bosko Video
3802 E. Cudahy Ave.
Cudahy, WI 53110
Animation; Classics; Free catalog
Cape Copy Center
631 Main St
Hyannis, MA 02601
Free catalog; Specializes in out-of-print titles; Good service; Titles
shipped immediately; Seventies porn specialists; Prices from $12-80.
Captain Bijou
P.O. Box 87
Toney, AL 35773
(205) 852-0198 (phone)
(205) 859-8946 (fax)
Sales, VHS/laser; 9-5 CST Mon.-Fri; VHS and laser monster movies /
serials / B-movies / westerns / animation / TV, Catalog $3.00; Credit
cards accepted
Central Park Media
250 W. 57th St., Suite 250
New York, NY 10107
(212) 977-7456
U.S. Manga Corps. is a label under Central Park Media; They sell anime
titles.
Chainsaw Video
Oudegracht A/D
Werf 265
3511 NN Utrecht
The Netherlands
"Cult-horror-SF-underground-sexploitation; Uncut versions; Magazines;
T-shirts; US $1.00 for catalog
Chas Balun
8456 Edinger Suite 111
Huntington Beach, CA 92647
Euro / Asian / US gore-trash-sleaze titles from the publisher of the
defunct Deep Red zine; Reasonable quality dupes for $14.95 + $2.05 p/h
each; SASE for info.
Cinefear Video
40 S. Brush Dr.
Valley Stream, NY 11581
European and import titles; Catalog for $3.00
Cinemacabre Video
P.O. Box 10005
Baltimore, MD 21285
Trailers; Old TV shows; Catalog $1.00; Most titles $19.95; Fanzine
available; No phone orders
Cinema Classics
P.O. Box 174
Village Station
New York, NY 10014
(212) 675-6692 (phone)
(212) 675-6594 (fax)
Boxed originals or dupes made from 16mm; Free catalog ($3.00 overseas);
Covers a number of PD titles; Suspense / cult / sci-fi / horror; Credit
cards OK
Dave's Video
The Laser Place
12144 Ventura Blvd.
Studio City, CA 91604
(818) 760-3472 (phone)
(800) 736-1659 (outside L.A. county)
(818) 760-3818 (fax)
Laserdisc sales; "The mecca for Hollywood's laser buffs"; Credit cards
accepted
Eddie Brandt's Saturday Matinee
6310 Colfax Ave.
North Hollywood, CA 91606
(818) 506-4242
Sales and rentals; Specializes in locating rare videos; Free catalog
Dark Dreams
6228 Sandpoint Way NE
Seattle, WA 98115
Horror / sci-fi / silents; Two 29-cent stamps for latest catalog
Discount Video Tapes
P.O. Box 7122
Burbank, CA 91510
(818) 843-3366
"Rare and unusual" titles; Classics; Westerns; Horror; Sci-Fi; Cartoons;
TV; Free catalog; Long catalog for $2.00
Facets Video
1517 W. Fullerton Ave.
Chicago, IL 60614
(800) 331-6197 (orders only)
(312) 281-9075
(312) 929-5437 (fax)
The best source for independent / out-of-print / foreign; Sells
laserdiscs and videos; $9.95 for large catalog; Credit cards OK
Far East Flix
59-13 68th Ave.
Ridgewood, NY 11385
(718) 381-6757 phone/fax
Mon-Sat 11am-7pm
Good quality dupes $20 each; Factory boxed titles $39.95 each; They
now sell new laser discs; New catalog free with order; HK and Japanese
titles
Feature Creature Theatre
MAP Video Productions
P.O. Box 222321
Dallas, TX 75222
Horror / sci-fi / B-movies from the 50s and 60s; Catalog $2.00; Tapes
$18.95 plus $2.50 p/h for the first tape, $1.00 per each additional tape;
Specializes in PD titles and trailers
Filmfax Products
P.O. Box 1900
Evanston, IL 60204
Forgotten / B-movie / horror / silents / TV shows; Mostly PD stuff; Buy 5,
get one free policy; Most titles are $15-30; $4.00 p/h first tape, $1.00
each additional tape; Offers VHS and Beta
Film Threat Video
P.O. Box 3170
Los Angeles, CA 90078
Advertises in its own monthly magazine; Good source for amateur and
independent films
Foothill Video
7732 Foothill Blvd.
Tujunga, CA 91043
(818) 353-8591
Specializes in silents / early talkies / some horror films; 40-page
catalog $4.95; Price per tape usually under $10; Takes credit cards;
$3.50 p/h first tape, 50-cents each additional tape
Ken Crane's Laserdisc Superstore
15251 Beach Blvd.
Westminster, CA 92683
(800) 624-3078
(714) 892-8369 (fax)
Laserdisc sales only; Over 100,000 titles; Call or write for free
catalog; New release list faxed on demand; Credit cards OK
Laser Blazer
2518 Overland Ave.
Los Angeles, CA 90064
(310) 558-8386 (phone)
(310) 558-3255 (fax)
(800) 488-DISC (orders only)
Laserdisc sales; Free catalog; Mastercard and Visa accepted; COD's
accepted (!) "We stock every title currently available"; Offers
discounts
Laser Cinema
2258 Market St.
San Francisco, CA 94114
(415) 621-2462 (fax only)
Specializes in finding out-of-print laserdiscs
Laser's Edge
2103 N. Veteran's Parkway, Suite 100
Bloomington, IL 61704
(309) 662-9347
Import and U.S. laserdiscs; Catalog for $9.95
Le Video
1239 9th Ave.
San Francisco, CA 94122
(415) 566-3606
Rare and out-of-print video and LDs; A walk-in video rental store that
does some mail order; If you're anywhere in the San Francisco Bay area,
go there! Just about every film that has been mentioned in FUNHOUSE!
can be rented from them. A primary FUNHOUSE! source.
Loonic Video
2022 Taraval St. #6427
San Francisco, CA 94116
(510) 526-5681
Commercial distributor; Carries some unusual and imported titles;
Catalog for $1.00
LS Video
P.O. Box 415
Carmel, IN 46032
"Eclectic mix" of older titles; Mostly rare and forgotten films; Free
catalog, Send a 29-cent stamp; Prices $9.95-around $20; $2.05 p/h per
tape
Mangamania Club
P.O. Box 85
New York, NY 10023
(800) 626-4277
Anime distributors; Free catalog
Media Man
Reinhold G. Schmidt
Postfach 23
91584 Lichtenau
Germany
09827-6536 (phone)
09827-6832 (fax)
Mostly books and magazines (US-imported); also NTSC videos, LDs and
toys; Prepaid only to foreign countries; Very reliable and they have
booths at many conventions and movie-market bashes
Midnight Video
5010 Church Dr.
Coplay, PA 18037
(610) 261-1756
Rare and import titles; Best source for uniformly good quality PAL /
SECAM transfers; 2-week service on orders paid via Postal Money Order;
Longer wait for payment by personal check; Detailed catalog for $3
($5 overseas); Most titles are $19 plus p/h ($4 for the first tape, $1
each additional); Some special orders are $22-25.
Milestone Film and Video
275 W. 96th St., Suite 28C
New York, NY 10025
(212) 865-7449
Monday-Wednesday-Friday Video Club
73 E. Houston St.
New York, NY 10012
(212) 219-0765
Underground films; Catalog for $1.00
Mondo Movies
255 W. 26th St.
New York, NY 10001
(212) 929-2560
Experimental / trash / sexploitation / sleaze; Free catalog
Movie Club Video
12 Moray Ct.
Baltimore, MD 21236
(410) 256-5944
Commercial distributor; Free catalog
Pagan Video
Box 763
Valatie, NY 12184
Obscure films from the silents to the 1970s; Catalog for $3.00
Pagoda Video
2 Holworthy Terrace
Cambridge MA 02138
More HK dupes; $15.00 each plus $3.00 p/h first tape, $1.50 each
additional tape
Phoenix Distributors
6253 Hollywood Blvd. #818
Hollywood, CA 90028
(800) 356-4386
(213) 469-7041 (fax)
Horror and classics; Free catalog; Visa / Mastercard
RM International
PO Box 3748
Hollywood, CA 90078
Russ Meyer's company which sells his films and new video projects on
video tape. Currently available are: THE IMMORAL MR. TEAS, EVE AND THE
HANDYMAN, WILD GALS OF THE NAKED WEST, LORNA, MOTOR PSYCHO, MUDHONEY,
FASTER PUSSYCAT KILL! KILL!, MONDO TOPLESS, GOOD MORNING AND GOODBYE,
COMMON-LAW CABIN, FINDER KEEPERS LOVERS WEEPERS, VIXEN, CHERRY HARRY AND
RAQUEL, SUPERVIXENS, UP!, and BENEATH THE VALLEY OF THE ULTRAVIXENS;
$79.95 each or $40.00 for six or more; Free glossy, slick, adults only
brochure
Rhino Video
10635 Santa Monica Blvd.
Los Angeles, CA 90025-4900
(800) 432-0020
Sci-fi / horror / JD / serials / TV / rock; 132-pg. catalog (music +
videos) for $2.49 (I called and got it free)
R.T.S.
P.O. Box 93897
Las Vegas, NV 89193
(702) 896-1300
Exploitation / horror / action / Euro-trash; Prices range from $30-60;
Occasional $19.98 per tape sales; $5.00 p/h per order; B-movie catalog
$1.00, "big catalog" for $9.95
Savage Cinema
Post Box 8887
1006 JB Amsterdam
Holland
Internet: peterzir@hacktic.nl
Exploitation / horror / Euro / U.S.; PAL format only, NTSC "maybe soon.";
Two titles per tape, $19.50 plus $3.50 p/h for the first tape, $2.50 for
each additional tape; High-grade tape, $2.00 extra each; U.S. currency
and postal money order OK; No bank checks; Catalog available free via
Internet.
Scarecrow Video
5030 Roosevelt Way
Seattle, WA 98105
(206) 524-8554
Rare and import titles, in NTSC and PAL; Finder service; Free catalog
Scorched Earth Productions
P.O. Box 101083
Denver, CO 80250
"Cult films on video;" All tapes $14.95 plus p/h
Sight and Sound
27 Jones Rd.
Waltham, MA 02154
(617) 894-8633
U.S. and imported videos and Laserdics; Walk-in rental service; BBS
service with membership; Free catalog
Sinister Cinema
P.O. Box 4369
Medford, OR 97501
(503) 773-6860
(503) 779-8650 (fax)
Sci-fi / horror / peplum / serials / westerns / drive-in double features;
Free catalog; Prices range from $12.95 to under $30; $2.00 surcharge for
beta; Credit cards OK; Pre-records
Snappy Video
P.O. Box 3206
Ann Arbor, MI 48106
Something Weird Video
P.O. Box 33664
Seattle, WA 98133
(206) 361-3759
(206) 364-7526 (fax)
Commercial distributor, similar to Sinister Cinema; "The nation's
consummate collection of eclectic exploitation and sexploitation";
Carries dozens of old sex films; Catalog $3.00; All titles $20 plus
$3.00 p/h plus $1.50 each additional tape; Visa / Mastercard; Pre-records
Starlight Video
520 W. Fullerton Pkwy., #201
Chicago, IL 60614
Specializes in horror and sleaze; Catalog with an SASE and two 29-cent
stamps
Stephen M. Russo
Box 3250
McCormack Station
Boston, MA 02101
Rare TV series (U.S. and international)
Tai Seng Video Marketing
170 S. Spruce St., Suite 200
San Francisco, CA 94080
(800) 888-3836
(415) 871-8118
Hong Kong titles; Free catalog; Sometimes subtitles are cut off or
hard to read; Pre-records; Prices: $50.00 each less than six month
old, $35.00 each more than six months old; Tapes in both Mandarin
and Cantonese.
Tapes of Terror
P. Riggs
6226 Darnell Dept. PS
Houston, TX 77074
Reportedly sells boxed originals
Tempe Video
P.O. Box 6573
Akron, OH 44312
(216) 628-1950
(216) 628-4316 (fax)
B-movies / horror /sci-fi / Euro sleaze; Catalog $1; "B's Nest"
newsletter for $10/4 issues
Threat Theatre International
P.O. Box 7633
Olympia, WA 98507
(206) 866-3593
Rare U.S. and import titles; Specializes in Asian; Catalog for $5.00;
The catalog is hokey but their service is reliable
Twonky Video
19 W. Main St.
Somerville, NJ 08876
Cult, animation, rare films; Also sells memorabilia; Videos and
laserdiscs; Free catalog
Video by Mail
P.O. Box 1515
Whitney, TX 76692
(800) 245-4996
(817) 694-4865 (fax)
Sales and rentals; Cult / independent / international; Credit cards OK
The Video Den Collection
40 Kilmer Rd
Vestal, NY 13850
(800) RARE-VHS
"Hard-to-find videos"; Catalog for $4.95; Accepts Mastercard and Visa;
These folks advertise ERASERHEAD for $50; Call for catalog
Videodrom Mail Order
Fuerbringer Str. 17
10691 Berlin
Germany
030-69213311 (phone)
030-6913787 (fax)
030-6923361 ("info phone")
Large selection of books, magazines, PAL and NTSC videos and LDs;
Catalog for DM $8 (maybe US $5); Includes updates; Accepts Mastercard
Video Madman
P.O. Box 40094
San Diego, CA 92164
Imports and cult titles; Free catalog
Video Oyster
62 Pearl St
New York, NY 10004
(212) 480-2440
Specializes in rare or out-of-print titles; Three catalogs based on
type of film you're looking for ($3 for a sampler); One-person operation;
COD is okay
Video Search of Miami
P.O. Box 16-1917
Miami, FL 33116
(305) 279-9773
Hundreds of rare U.S. and import titles; Free catalog; Two-day service
in many cases; Quality of video transfers vary wildly and they don't
take criticism very well; Prices $25 plus p/h; Very fast service
Video Specialists International
182 Jackson St.
Dallas, PA 18612
(717) 675-0227
Specializes in exhuming lost films, from 1900 to 70s; TV shows; Adult
titles; Prices average $14.95; Catalog for $3.00; Credit cards OK
The Voyager Company
1 Bridge St
Irvington, NY 10012
(800) 446-2001
(914) 591-5500
Whole Toon Catalog
P.O. Box 1910
Seattle, WA 98111
(206) 441-4130
Specializes in hundreds of animation titles; Free catalog (takes a long
time); Send $2.00 to get it right away; Credit cards OK
==========================================
Rentals by Mail
These companies specialize in renting trash movies to mail-order customers.
Usually, there's some kind of membership fee, and some require credit cards.
The ones that don't require credit cards require a cash deposit. You join,
they send you a catalog, you mail or phone-in your order, they send it in a
reusable carboard mailer, you return the tapes by the due date.
-------------------------------------
Home Film Festival
P.O. Box 2032
Scranton, PA 18501
(800) 258-3456
(717) 344-3810 (fax)
Foreign / U.S. / independent /cult; Membership $15/year; Rentals: $4.50-6
per tape/three nights plus postage (both ways); Catalog w/membership
Movies Unlimited
6736 Castor Ave.
Philadelphia, PA 19143
(800) 523-0823
(215) 725-3683 (fax)
Mostly mainstream and foreign films for rent; An occasional cult movie
(like older John Waters films and other proven moneymakers); Call for
membership info; Enormous catalog (30,000+ titles); Credit cards OK
Video by Mail
P.O. Box 1515
Whitney, TX 76692
(800) 245-4996
(817) 694-4865 (fax)
Sales and rentals; Cult / independent / international; Rental fee: $4.00
Video Library
7157 Germantown Ave.
Philadelphia, PA 19119
(800) 669-7157
VHS / laserdisc rentals; $5 per title/three nights; Specializes in
cult and out-of-print titles; Catalog $8.95; Postage varies; Credit
cards OK
Video Vault
323 S. Washington St.
Alexandria, VA 22314
(703) 549-8848
Three films for one week $19.95, includes one-way shipment via UPS; Huge
selection of cult and mainstream titles; Membership fee; Friendly service
but a bit expensive
Video Wasteland
214 Fair St
Berea, OH 44017
(216) 891-1920
(800) 532-1533
Three films for 4-5 days $18.95, includes one-way shipment via Priority
Mail; Ever-growing catalog of rare U.S. and import titles; Membership
fee; Ken the owner answers the phone; Personalized service and quick
response to phone orders
=============================================
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Via Atene 6
20132
Milan, Italy
EYEBALL
14 Kintyre Court
New Park Rd., Brixton Hill
London
SW2 4DY
U.K.
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1265 Pollokshaw Rd.
Glasgow G41
3RR
Scotland
SPROCKETS FALL
7735 Attingham Lane
St. Louis, MO 63119
Video sources:
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13579 Calico Place
Chino, CA 91710
NYUE Enterprises/Rainbow Video and Audio
Address?
WORLDSHOP
3665 29th St.
Grand Rapids, MI 49512
WORLD VIDEO
Address unknown
A Survey of Essential Sixties Garage Punk Albums
------------------------------------------------
Sixties garage punk is a common thread running through FUNHOUSE!, and it is a
crucial link in the great continuum that runs from Link Wray to the Jesus
Lizard. These snot-nosed, do-it-yourselfers connect the Who and the Stones to
the MC5 and the Stooges in the chain of raw, primitive, and honest
rock-and-rollers. They serve an additional function as a reminder to us that
the Woodstock-"San Francisco scene" boring hacks weren't the only thing going
at the time, despite what the curators of popular culture today might believe.
What follows is a run-down of some of my favorite groups to issue LPs of this
sort. For each group, all relevant contemporary albums and a brief synopsis
is given to aid you in your digging pleasure. Most of these have been
reissued on CD (and some on vinyl), so you don't have to shell out those
collector's prices. Check out European labels, such as Eva, Edsel, Line, and
Decal for pressings of questionable legality. A good source for mail order is
Midnight Records in NY (PO Box 390, Old Chelsea Station, New York, NY, 10011,
212-675-2768; Fax, 212-741-7230). This list represents the most successful,
and to some extent accomplished, Sixties garage bands, as most never got much
further than locally issued 45s. However, thanks to dedicated and even
obsessive archivists, a lot of these singles have been collected onto albums
in such series' as Pebbles, Highs in the Mid-Sixties, Boulders, Beyond the
Calico Wall, Girls in the Garage, ad infinitum - check those for many
terrible, and some great, obscure tidbits.
THE STANDELLS
Dirty Water (Tower 5027, 1966)
Why Pick On Me / Sometimes Good Guys Don't Wear White (Tower 5044, 1966)
Try It (Tower 5098, 1967)
There are three additional Standells LPs, but these are the records that
demonstrate their punk aesthetic. Two earlier albums were live recordings
from a time when the Standells were a clean-cut cover band, and the third was
released between Why Pick On Me and Try It, and is made up of more limp
covers of then-current hits. The band was profiled in detail in FUNHOUSE! #2.
When Ed Cobb (ex-Four Preps) took over management of this L.A. group, he
brought to them a style of sneering defiance and chord-driven garage rock.
Cobb wrote a number of the group's best songs, and contributed greatly to
their new Stones-derived sound. The lyrics reflect an attitude of rebellion,
characterized by growled vocals from drummer Dick Dodd; he tells his
adversaries to "flake off." Russ Tamblyn's brother Larry on keyboards, Tony
Valentino on guitar, and bass players Gary Lane or Dave Burke make up the rest
of the band. The big hit was "Dirty Water," with "Sometimes Good Guys Don't
Wear White" and "Why Pick On Me" having modest success. Other ripping tunes
include "Little Sally Tease," "Why Did You Hurt Me," "Rari," "Mr. Nobody,"
"Mainline," "Try It" (banned for encouraging loose morals), "Barracuda," and
the amazing "Riot On Sunset Strip," from that film's soundtrack. Several
compilations have come out in recent years, the best being from Rhino. Get
all of the info you could ever need on these kings of the sixties punks from
the previous FUNHOUSE! article.
THE CHOCOLATE WATCHBAND
No Way Out (Tower 5096, 1967)
Inner Mystique (Tower 5106, 1967)
One Step Beyond (Tower 5153, 1968)
Another Tower band, also produced by Ed Cobb, who are from San Jose rather
than Los Angeles. There are some similarities to their label-mate's style,
but there's more of a chemical-induced haze over these proceedings. A little
more trippy and a little less raw and angry, the Watchband still make guitar
rock untainted by the more tedious trappings of hippie psychedelia. Having no
hits whatsoever, the originals of these albums are quite difficult to find
(and expensive). No Way Out rocks the hardest of the group, with
over-amplified cuts such as "Are You Gonna Be There (At the Love-In?)" and
"Let's Talk About Girls." The band also slips into instrumental jams, always
with a steady beat, such as the title cut, "Expo 2000," and the appropriately
titled "Dark Side of the Mushroom." Inner Mystique goes a little further
into trippy terrain, with more feedback and extended instro jams. Check out
"I Ain't No Miracle Worker," a good cover of Dylan's "It's All Over Now Baby
Blue," and a rave-up rendition of the Kink's "I'm Not Like Everybody Else."
The group came up with many freaked-out tunes; a sitar and flute could mix
with harmonica and singer Dave Aguilar's deep, heavily echo-chambered sneer to
make for a great doobie-and-black light soundtrack. I don't go for the more
pretentious and overproduced psychedelic stuff, so don't think that, despite
this weirdness, the Watchband don't keep things firmly grounded in a heavy,
heavy beat. The Cobb penned experimental cuts "Voyage of the Trieste" and
"Inner Mystique" from the second LP are good examples of this. He also gave
them his drug anthem "Medication," also heard on the Standells Dirty Water
album. Unfortunately, with Aguilar out of the picture, One Step Beyond fails
to click, so track down the first two. These guys are also featured live in
RIOT ON THE SUNSET STRIP and are heard on the soundtrack album. There they
deliver two of their wildest numbers, with the intense "Don't Need Your
Lovin'" and the major-distorto "Sitting There Standing." The Chocolate
Watchband's second single was a cover of Davie Allan and the Arrow's "Blue's
Theme," recorded under the name the Hogs, and produced by Frank Zappa. A comp
from Rhino has been put out also.
THE SHADOWS OF KNIGHT
Gloria (Dunwich 666, 1966)
Back Door Men (Dunwich 667, 1966)
The scene in the sixties which produced the rawest, grungiest, and most
distorted variety of punk was not found in California nor in New York, but in
the midwest's Second City. These monsters of the midway actually hailed from
the Chicago suburb of Arlington Heights. Many of their fellow bands from the
Cellar club were just as loud and rude, but the Shadows o' Knight were the
best, and the only group to put out an album. Their influences are straight
from Muddy, John Lee, Elmore, and Willie, but all knobs are to the right and
the tempos are way up. The first record yielded a hit with a cover of Them's
"Gloria," and contains only three originals. The influences are apparent from
renditions of Chuck Berry ("Let It Rock"), John Lee Hooker ("Boom Boom"), Bo
Diddley ("Oh Yeah"), and three from Willie Dixon ("You Can't Judge a Book [By
the Cover]," "[I'm Your] Hoochie Coochie Man," and "I Just Want to Make Love
to You"). The second LP moves more toward rock-and-roll rave-ups and is
better for it. It has even more punk intensity, which blasts through in great
cuts like "Bad Little Woman," "Gospel Zone," "I'll Make You Sorry," and
Dixon's "Spoonful." The snarling, Jagger-esque vocals that characterize sixo
garage bands are in full force, and the Shadows of Knight may have the most
charged up sound of them all. Maybe the easiest way to pick up this music now
is through the recently released Raw and Alive in the Cellar record, which
proves that punk rock was alive and well in Chicago '66. These guys, along
with the Standells and the Chocolate Watchband, are my picks of this list.
The Dunwich label put out some seven-inchers by bands with equivalent levels
of volume and distortion, and some of them can be found on the in-print The
Dunwich Story and The Dunwich Story comps (Sundazed). The best songs are by
the Del-Vetts, the Things to Come, the Knaves, and the Pride and Joy.
THE LITTER
Distortions (Warick UR-5M-1940, 1967)
$100 Fine (Hexagon HX-681, 1968)
Emerge (ABC Probe CPLP-4504, 1969)
With the Trashmen in their past, and Husker Du and the Replacements in their
future, the Litter occupy an important niche in the Minnesota, white boy,
guitar noise, angst music fraternity. It must have something to do with the
weather. They are either the most psychedelic of sixties metal bands or the
most metal of sixties psychedelic bands. The independent releases are
preferred. $100 Fine is the less conventional of the two, being character-
ized by loud and spacey guitar effects, which highlight Warren Kendricks'
off-kilter production. High volume trip-outs such as the spacified
"Mindbreaker," "Morning Sun," and "Blues One" line up with a more obscure
selection of cover material than turned up on most sixties LPs: "Here I Go
Again" (Small Faces), "Tallyman" (Yardbirds), "She's not There" (Zombies), and
"Kaleidoscope" (Procol Harum). The debut, Distortions, is a more conventional
affair, but it is still filled with monster heavy riffs. It leads off with
the band's kick-ass masterpiece, the raging "Action Woman." The weird "The
Mummy," as well as "The Egyptian" and "Soul Searchin," give a taste of what
was to follow, but the covers are a bit more standard fare (they include the
Who's "Substitute" and "A Legal Matter," as well as "I'm a Man"). Both of
these albums showed up as reissues in 1990-91 on the K-TEL (!) label, but I
haven't yet seen them advertised on TV! The $100 Fine reissue contains the
addition of "Confessions of a Traveler Through Time," which the band are seen
playing in the film Medium Cool (1968), but are not heard as the producers
decided to dub a Mothers cut over them. Emerge is a major label release which
features a new singer and lead guitarist. It rocks pretty hard, but is
inferior to the other two. A cover of the Love-styled version of "Little Red
Book" is interesting. The French Eva label dug through the vaults and came up
with a record called Rare Tracks, which fills out the group's recorded
career for completists.
THE THIRTEENTH FLOOR ELEVATORS
The Psychedelic Sounds of the 13th Floor Elevators (International
Artists 1, 1966)
Easter Everywhere (International Artists 5, 1967)
Live (International Artists 8, 1968)
Bull in the Woods (International Artists 9, 1968)
"What is that funny little noise in that record?" reads a quote from an
anonymous DJ on the liner notes to Psychedelic Sounds. That noise is the
sound of an electric jug, and it's the second most distinct sounding thing on
"You're Gonna Miss Me," the minor hit which leads that first album off - the
most distinct being the haunted blues meets space cadet vocals of Roky
Erickson. Toss out those Pink Floyd records, this is the most acid-soaked
music you'll find, and despite that it doesn't lose its rock-and-roll edge.
Coming out of Houston in 1966 on the upstart International Artists label, the
Elevators concocted a record blatant in its drug induced sound, lyrics, and
album cover, which would become more usual in a few years, but which was
pioneering in its time. Some of the later period psyche bands would slip into
a little too much hippie-dippy mysticism with woodwinds, sitar, and other out
of place instruments, but these guys were all garage rock, and they never
loose their edge thanks to Stacy Sutherland and Roky's dissonant and driving
guitars. "Reverberation," "Fire Engine," and "Monkey Island" are probably the
other strongest cuts from the debut, but the whole thing melds together into
one long, continuous, trip out, which preaches to the temple of the Vitamin A
through both words and music. The follow up, Easter Everywhere, takes right
up were the previous record lets off, and is probably the stronger of the two.
It kicks off with what may be the group's best song, the eight minute opus
"Slip Inside This House," which again is crafted from a mind melting collision
of the eerie emotion of Erickson's singing, the peculiar blowing of Tommy
Hall's electric jug, and the unmatched driving weirdness of the electric
guitars. "Slide Machine" and Dylan's "Baby Blue" also stand out, but again
this is a work to be experienced in its entirety. It's hard to give a
description to these records as nothing else sounds like them, but
unquestionably key is Roky's vocals, and thus Bull In the Woods is to be
avoided as it was recorded while he was locked away in the state mental
hospital after a pot bust. The live album above is one of a few available,
but it was released while the group was active. Erickson's late-seventies and
early-eighties recordings with the bands the Aliens and the Explosions are
also highly recommended. From an appearance on The Bandstand - Dick Clark:
"Who is the head of the band?," Roky: "We're all heads."
THE MUSIC MACHINE
Turn on The Music Machine (Original Sound 8875, 1966)
Dark, brooding, and very, very fuzzy. The Music Machine are the soundtrack
for 4:00 AM on Sunday morning following a sixer plus and multiple BTs.
Distorted instruments are complimented by Sean Bonniwell's distorted vocals,
which create a sound which is perfect for the darkest, dankest, most
subterranean stage you can imagine. The originals mostly carry their sound
with an uptempo punk beat. "Wrong," "The People in Me," "Masculine
Intuition," and especially "Trouble" and the single "Talk Talk" are chord
driven rockers. An interesting collection of covers range from "Taxman," "96
Tears, and "See See Rider," to the unusual in selection with Neal Diamond's
"Cherry Cherry" and the common "Hey Joe" - done as a mega-slow dirge. The
boys dress head to toe in black - boots, pants, turtlenecks and a single
leather glove. Listen for some of the most extreme stereo you'll ever hear!
Reports are that the mono version (reviewed here) is much more raw than the
stereo one, but I can't verify that myself. The singer later put out a self
titled record with his new band Bonniwell's Music Machine (Warner Brothers
1732, 1967), and Rhino put out a Music Machine compilation.
COUNT FIVE
Psychotic Reaction (Double Shot 5001, 1966)
Count Five achieve greatness for two reasons: 1) They somehow came up with the
most fantastic single song of any of the bands mentioned in this article (and,
with apologies to Neil Young, maybe anywhere in this issue) with "Psychotic
Reaction." That cut builds on an amazingly captivating, and yet simple beat,
until it finally explodes into chaos, only to be brought back under control
with a steady riff and heavy drumbeat combo. 2) The wacked cover art which
has the fellas, complete with checkered and striped double knits, starring
maniacally into the camera from around the edge of what appears to be a
freshly dug grave. The music is pretty simplistic, and the guitar playing is
of a cleaner Byrds / Beatles style rather than the Stones / Kinks influence
which drives most of the American garage punks of the era. However, the kooky
lyrics of songwriter / rhythm guitarist Sean Byrne do add a certain extra
something, especially when he speaks of his girl "from the deep, deep south"
who also is equipped with a "pretty big mouth," and when he takes on the
ranting voice of the committed in the paranoid "They're Gonna Get You." Byrne
does write all but two tracks (a rarity then, as you have read), and while the
covers are pretty straight renditions of the Who's "My Generation" and "Out in
the Street," remember that it was the pretty cool group who drew their
influences from Townshend and Co. in 1966 when the Who were hitless, virtual
unknowns in America with only a just released debut album. Some of the tracks
on Count Five's singles of the time (especially "Revalation in Slow Motion"
and "Contrast") are as good as anything (save "Psychotic Reaction") on the
album. Look for the Edsel reissue which replaces the cover tunes and a couple
of lesser tracks with these. Gonzo Rock Journalist King Lester Bangs elevated
this group of San Jose, CA teens by creating a mythical catalog for them,
which contained four additional releases (the compilation of Bangs' work,
"Psychotic Reactions and Carburetor Dung," draws its name from this record and
the second one he made up for them). Bangs got to pondering what would happen
if a bunch of low-talent punks, like these guys, actually developed a career,
and thus went ahead and created one for them that included psychedelic
experimentation and seventeen minute tracks - it's like he wished it did
happen. For the record, the band members were attending the following
educational institutions at the time of this release: Los Altos Foothill
College, San Jose City College, San Jose State College, and San Jose Pioneer
High School. There's even a live CD out there from a reunion show a few years
ago.
THE SEEDS
The Seeds (GNP Crescendo 2023, 1966)
A Web of Sound (GNP Crescendo 2033, 1966)
Future (GNP Crescendo 2038, 1967)
A Full Spoon of Seedy Blues (GNP Crescendo 2040, 1967)
Merlin's Music Box Raw and Alive (GNP Crescendo 2043, 1967)
Brother Sky Saxon was one groovy cat who was so far out man that he still
hasn't come back. The Seeds had hair way past their shoulders on their 1966
debut, spoke openly and without crypto-innuendo about the joys of things for
the head when others only hinted at such notions, and had the 14:27 minute
freak out "Up in Her Room" on A Web of Sound a year before "Sister Ray." As
ahead of their time as they were, the LA based group was still dominated by
Sky's throaty and warbling singing and his loopy bass playing, along with dual
fuzz guitars and Daryl Hooper's cheesy organ. But along with the kooky
lyrics, therein lies the charm. "Pushin' Too Hard" from the debut was the
hit, and that cool tune sets the pace for the rest of the music. "Evil
Hoodoo," also from The Seeds, rises above most of the rest with its powerful,
loud, and driving fuzz guitar and organ lead which sustains over the course of
5:15 minutes, and the abovementioned "Up in Her Room" makes the second LP
worth checking into - you put it on and it keeps going, and going, and
going... A bit more subtle approach on Future does nothing to hide Sky's
wacko sensibilities, but A Full Spoon... is something altogether different.
Yep, the Seeds play the blues, but surprisingly it's pretty good. The Seeds
proper rounded things out with the live album, recorded at one of the Sunset
Strip's coolest night spots, which is a good representation of what they were
all about, and with the inclusion of "Two Fingers Pointing on You," one of
their best songs, on the soundtrack to Richard Rush's Jack Nicholson-in-
the-Hashbury exploitation classic PSYCH-OUT. The band can be seen live in the
film, as well.
Sky moved to Hawaii and spent the seventies as the guru of a church that
worshipped his dog. During the course of things, he kept various versions of
the Seeds together, and issued a number of albums under the "New Seeds"
moniker. Among these are Sunlight and the New Seeds (1976, Expression), Stars
New Seeds Live at the Orpheum Theatre (Sunbow, 1977), In Love With Life
(Expression, 1978), and Lovers Cosmic Voyage (Golden Flash, 1978). In between
those were many obscure, low numbered pressings of mystic chant records. By
the eighties he was resurrected from Hawaii by his old pal, L.A. DJ and
hipster Rodney Bingenheimer. First out was Starry Ride (Psycho, 1984) were he
was backed by other burn-outs, late of the bands Iron Butterfly, Steppenwolf,
and Fraternity of Man. He then made the rounds of the early-eighties paisley
underground scene, appearing as Sky and Purple Electricity while ranting over
the MacDonald bros playing classic rock (see last ish's Redd Kross piece) or
in Firewall, a group he headed made up of members of the Dream Syndicate, the
Plimsouls, and the Droogs (A Groovy Thing [New Rose, 1986] and Destiny's
Children [PVC, 1986] are records of the same Firewall material). ...In Search
of Brighter Colors (New Rose, 1988), World Fantastic (Skyclad, 1988), and
Private Party (Voxx, 1986) are even more new material, these being
post-Firewall. If anyone could supply me with a tape of any of the seventies
material I would gladly trade a tape of anything mentioned in any FUNHOUSE!
for it.
THE SONICS
Here are the Sonics (Etiquette ALB-024, 1965)
The Sonics Boom (Etiquette ALB-027, 1966)
Introducing the Sonics (Jerden JRL-7007, 1967)
Seattle's original garage band have a sound that might be called agro frat
rock. Raw guitars keep a pace with the simplest of chords, accompanied by
piano or organ, and occasionally interrupted with a psycho-solo from a six
string or a sax. What makes these guys pretty damn cool is singer /
keyboarder Jerry Roslie's manic, I-wanna-be-Screamin' Jay growls, snarls, and
screams. Plenty of covers are present, and the performances on them are good
("Do You Love Me," "Shot Down," "Keep a Knockin'" - even "Louie Louie" keeps
you interested). An A for effort and for several classic, crazed originals
("Psycho," "Strychnine," and "Witch") make at least a comp from the Sonics
worth checking out. But, despite their reputation, there are a few groups on
this list that are a bit more original. An additional problem lies in the
fact that the Etiquette label did a pretty lousy job of recording most of this
music.
THE OTHER HALF
The Other Half (Acta 38004, 1968)
Teetering on the edge of prog metal, this record bridges the gap between the
group's earlier drug punk classic single "Mr. Pharmacist" and guitarist Randy
Holden's later ear shattering white noise in Blue Cheer (for a truly warped
experience seek out his solo guitar opus, Population II [Hobbit, 1968]). It's
noisy, it's fuzzy, and it's as much a precursor to seventies heavy metal as to
seventies punk rock. All original except for a cover of fellow Frisco friend
Country Joe's "Feathered Fish," this one demands that it be played at maximum
volume.
THE LEAVES
Hey Joe (Mira 3005, 1967)
All the Good That's Happening (Capitol 2638, 1967)
Another LA band, they operate at their best in the style of the earliest
Stones, and at their worst somewhere in Herman's Hermits land. They have a
dual guitar attack, with the classic chugging chord rhythm and clean picking
lead combo. The Leaves' superior musicianship elevates their better numbers,
and the best of these kick along pretty well and above the level of some of
their contemporaries who were mired in Brit-clone boredom. (Let's face it,
only the Beatles, the Stones, the Who, and the Kinks were consistently good,
as most sixties limey music just plain sucked). The guitar may be cleaner and
the vocals less angry and snotty than most of the other groups here, but their
roaring take on the ubiquitous "Hey Joe" is definitive. This garage staple
was also covered by (at least) the Standells, the Music Machine, Love, the
Shadows of Knight, and the Byrds. The best stuff on the Hey Joe record is
well worth having. "Get Out Of My Life Woman" recalls the Beatles in their
Help / Rubber Soul period, only angrier. "War of Distortion" goes for a
trippy effect by including sound effects and extreme stereo separation, and
"Words," written by Boyce and Hart and more well known from the Monkees
version, is great high energy pop. Along with "Hey Joe," the shredding
instrumental "Back on the Avenue" and the album closer, "Too Many People," an
original with a great punk beat supporting outbursts of lead guitar and
harmonica over the singer's statement of defiance, are incredible sonic
explosions. The weaknesses of tracks like "Girl From the East," He Was a
Friend of Mine," and a sappy version of the Searchers "Good Bye, My Lover" are
even more glaring when stacked up against these. The Leaves' "Hey Joe" was
also the version that was the biggest hit, and that earned them a promotion to
the majors with the Capitol issued All the Good That's Happening. It's an
undistinguished record, thrown together just as the band was splitting up.
THE RISING STORM
Calm Before the Rising Storm (Remnant BBA-3571, 1968)
These Andover prep schoolers in coats and ties seem to be equally influenced
by the Booker T and the MGs Stax / Volt sound, and Love's SoCal psych-punk (in
fact they cover both "In the Midnight Hour" and "A Message to Pretty," but you
wouldn't need to hear those two to catch these influences). The tunes chug
along at a good pace, like British Invasion music with an edge. Keyboards and
occasional fuzz guitar punctuate a sound which fans of the Jam and their
revivalist peers might groove to. Highlights include "Don't Look Back," an R
& B influenced rave-up that probably got the crowd on its feet at MA keggers.
It features some wild leads, multiple tempo changes, and a rap in the middle
that would make Peter Wolf proud. "I'm Coming Home," another driving rocker
which breaks for a spastic solo, and "She Loved Me," which has a fuzzy lead
driving its soulful vocals, round out the best material. Cover versions of
the popular "Big Boss Man," whose definitive sixo version was delivered by the
Syndicate of Sound, and "Baby Please Don't Go" (yep, that one) are used for
padding. A few of the slower numbers are rather rote. This LP circulates
these days for more cash than any other mentioned here (it can be over $500).
While it's a fun spin, it doesn't warrant that much scratch in my book.
THE SYNDICATE OF SOUND
Little Girl (Bell 6001, 1966)
Yet a third band from the mid-sixties period who emerged from San Jose, CA.
While SF to the north was stuck in the Beau-Quicksilver-Airplane-Grape flower
child morass, its mega suburban sprawl neighbor was cranking out garage bands
dedicated to the true spirit of rock-and-roll. It must be something with the
tract housing. The title track was the big hit for these guys, with its
ringing, driving guitar propelling its tell off vocals. If you've never
caught this on oldies radio you can always check into the Dead Boys live
knock-off on their Young, Loud and Snotty LP. Following closely on the tail
of that classic is a raving cover of the Sonics "Witch," but once you get past
those straight rockers the dominant style is a fifties sound similar to what
the early Flamin' Groovies did. The choice of covers should clue you in as to
what to expect: "Big Boss Man," "Dream Baby," "I'm Alive," "Lookin' For the
Good Times," and "Is You Is or Is You Ain't My Baby." While not as wild, in
the garage style, as some of their peers, there's still plenty of volume in
these sax featuring tunes. Even if the old rock-and-roll sound isn't up your
alley don't pass up this vinyl slab if you run across it cheap, especially for
"Little Girl" and "Rumors," another jammin' original which credits one member
with "fuzz bass." My copy has a peace sign drawn on the label, which is
covered by a price sticker for 50 cents from Record House Inc (I think that I
actually shelled out $1.98!) If you're out there Terry Mello, you should have
hung on to this baby.
THE FIRE ESCAPE
Psychotic Reaction (GNP Crescendo 2034, 1967)
A real SF garage band or a Kim Fowley / GNP Crescendo throw together? The
liner notes tell a probably bogus story about the producers finding the group
in The Gutter, "a club so far 'in' that the 'in-kids' didn't know where it
was." The album is mostly well played covers of garage rock classics, but it
gets extra points for its subtle collection of LSD references. Covers are of
"Psychotic Reaction" (Count Five), "Talk Talk" (Music Machine), "96 Tears" (?
and the Mysterians), "Trip Maker" and "Pictures and Designs" (both by label
mates the Seeds), and "Fortune Teller." In addition to the Seeds' acid
tributes, Fowley's fantastic "The Trip" and the bad trip ode "Love Special
Delivery" add to the fun. The playing is fast and charged, but not heavy on
the distorto content which drives the best music of the genre.
? AND THE MYSTERIANS
96 Tears (Cameo 2004, 1966)
Action (Cameo 2006, 1967)
And mysterious they were (and are). ? took the name "Rudy Martinez" for a
songwriting credit, but reports are that that name was phony too. What's
known about the group is that they were a mutant crossing of sixo-styled
Tex-Mex with Detroit angst. "96 Tears," with its retard piano lead, should be
known to all, but that hit is just the jumping off point. ? himself was a
warped presence slithering across the stage, and the music is loaded with
charged chords and lyrics which hide messages of sexual want. The record
company said it was "Girl, You Captivate Me" but on stage that tune took its
true form as "Girl, You Masturbate Me." Both LPs are equally recommended, but
no reissues exist, as they are owned by Allen Klein and he refuses to let them
out (probably for no other reason than that people want to hear the music).
You can however pick up the ROIR / Danceteria reunion show live album, which
rocks just as if these cinco dudes never went away.
THE TROGGS
Wild Thing (Atco 33-193, 1966)
The Troggs (Fontana SRF-67556, 1966)
Love Is All Around (Fontana SRF-67576, 1968)
Though the Stones and the Who were a major influence on the American garage
punks, once they had moved on to superstardom there weren't many English bands
to carry on with the noise (things degenerated to the level of Herman's
Hermits, the Hollies, and the Dave Clark Five). The Troggs are the major
exception. If you haven't heard these cave dwellers kick out their most
famous tune, I don't know what interest you have in reading this far, but that
three chord classic is only the begining for these guys. Each of their early
records is filled with the snotty vocals and crunchy guitar noise which makes
"Wild Thing" one of the most covered rock-and-roll creations of all time.
There's probably no band mentioned anywhere in FUNHOUSE! who hasn't played it
at some time (well maybe Phil Collins, it probably wouldn't even occur to
him). Loud bar chords and feedback rave-ups are all over the sixties
material, with just a few of the highlights being "From Home, "With a Girl
Like You," "I Want You," and "66-5-4-3-2-1." Wild Thing and The Troggs are
actually the same record, released by different labels. It's a version of
this which gets the nod for its first record level of angst and intensity.
Either of the above will do, but these guys carried on far longer than any of
the other bands here, so enter the seventies with them at your own risk.
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