But Good Old Can Make Good New (Relatively New, At Least)

Have still been thinking about Chuck Berry’s passing and I’m most always thinking about my beloved Hellas. This morning I woke up realizing how this song that knocks about in my head from time to time is little more than souped up “Sweet Little Sixteen.”

And by the way, the righthanded guitarist (not lefty Nikke the singer) died in February.

Another one bites the dust.

Live Supershit 666

Not really.

Saw my old friend Jason Grey today. We figured out we hadn’t seen each other for three years. He helped me out big time and happened to mention that my greatest contribution to Remnants for him was turning him on to Supershit 666.

So I looked and found this British cover band playing Star War. Every song on that little EP is a 10, so this is as good or bad as it gets. Supershit was a studio-only supergroup and this is the best and only live version of a SS666 song I’ve ever seen.

Actually it’s a little Supershitty, but it’s fun to watch the drummer. I’d be happy to play with him. I think the bass player is sitting on the couch.

For Jason.

The Possibilities Are Endless

Don’t know how I missed this very early, primitive Turbonegro attempt at a genuine music video.

Cool in countless ways.

I guess my favorite is the guitarist on the far right in the video.

This is from Ass Cobra, absolutely a glaring omission from the Rolling Stone best punk album list (not that they would know). My vote for best hardcore album ever.

First Ramones

Partially because this was Rolling Stone’s #1 punk album of all-time I listened to it, among others, on my way out to LABR last Friday.

1) There are several other albums I could argue for #1, but I could also easily defend this one.

2) Joey’s vocal inflections are classic, “Now I Wanna Snib Some Glub” and “I Don’t Wanna Go, Down To The Basem” come to mind immediately. There are plenty of others. What’s the source of this genius/idiocy?

3) Realized on the flight out that I know every single word to every single song on this album. In my world, bars would host “Sing Along To The Ramones Debut Album” night. Fuck EDM. Fuck EDM again. For good measure.

4) Tommy’s drumming. Hypnotic. Does it get any better?

5) I include this song because of a stupid college story. I discovered this album as a freshman in college (1978 – yes, I was late to the Ramones party). There was this really ugly freshman girl named Renata and our entire floor would sing “I used to make a living man, pickin’ up Renata.” I can still see her picture in our freshman class picture book.

6) Is this rock ‘n’ roll? (Nice when it’s a rhetorical question.)

Hey There, Little Stranger

Gimme Danger is finally out in a medium we can easily watch.

I streamed it for $4.99 last night on Amazon. In the beginning of the movie, it says “Amazon Studios” so this might be the only place it’s currently available.

Was it as good as advertised? Abso. Fucking. Lutely.

If anyone wants to watch it and talk about some rock ‘n’ roll, I’m here.

How Did I Miss This?

Just added Love It To Death, Killer and School’s Out to the album troika list, then decided I had to hear me some Alice. Went to youtube and stumbled upon this.

Appears to be a genuine attempt at a music video, way before music videos were a thing.

Not an A+ Alice song, nothing extraordinary about the video either, and guessing you guys have seen this before, but it’s very cool to see footage of Alice and the band in their prime.

Parallels to the 2016 election would be too easy:

Oh No, Not Overend!

Pete “Overend” Watts, bassist for Mott The Hoople, has died at 69 of throat cancer. There are several important Motts still left (I’ve heard Ian Hunter’s latest is really good and I plan to get it), but this makes two down as drummer Buffin died a year or two ago.

I didn’t see Mott The Hoople, just Mott a little later, but Overend was certainly the rock ‘n’ roll shit, strutting around with his seven-inch heel boots and hairstyle you’d probably know better as Johnny Ramone’s.

MTH meant and still means a lot to me. My first taste came from an 8-track of The Hoople that I bought off a kid I worked with at Dorney Park in the summer of 1976 for a couple bucks. It’s one of my all-time faves, making both my top 50 when we did those lists a couple years ago and my Teen list last week. In usual backwards style, I first got into the last-gasp Hoople, with Ariel Bender on guitar, then “progressed” to Mott (probably because they existed) and then went back years later to catch up on the also-excellent earlier Mick Ralphs stuff. Maybe it’s due to the order I learned it, and surely it’s Dave Marsh heresy, but I always preferred Bender’s more over the top guitar style to Ralphs’ subtlety. It’s all good.

Before someone posts one of the obligatories, I’ll give you Pearl ‘N’ Roy, from The Hoople, maybe my favorite track on one of my favorite albums, arguably my favorite Mott song of all. Particularly love the sad, wailing guitar solo as the song fades.

RIP Overend!!!