The Pandoras, I Want My Caveman

It took a while, but I found a fine Colorado radio station out of Fort Collins called KRFC. The frequency is 88.9. But of course in this modern age, and I’m in Boulder, the radio signal is kind of weak (though they’re running a fund raiser to go to 50K watts) so I get a lot of static, unless I load the website. Anyway, KRFC is fantastic, one of those radio stations that gives the programming to the DJs and stays out of the way. I keep hearing live shows at noon of local talent. Some good, some not, always worth listening to. I think that’s the bar. Are you worth listening to?

Wicked Lady, Plastic Queen

Live and learn. I found the source for my Wicked Lady post. Dangerous Minds. There was also a band called Wicked Lady in the Netherlands in the late 70s. This clip is from 1981.
If you listen to the songs linked in the Dangerous Minds story you’ll find some good sounds with some pretty weak songs. This might be the best of them, if you don’t count Girls cover of Cherry Bomb. Plus that’s a nice guitar solo. Not that punk.

Wicked Lady, Run The Night

I don’t really know how I found this. I think it was a story about girl rock bands from the 60s, though when I found a short biography of the band it was quickly clear that these were blokes in this band. These were Englishy blokes who got together in 1968 and quickly had a following of bikers who discouraged club owners from booking the band. After too much drinking and too many drugs they broke up, then reformed with a new bass player and recorded their songs, which were then pressed in a very limited run for band members and their families. They seem to have had a bad attitude, they reportedly played the same song over and over again at one gig until the owner threw them off the stage, and once again broke up, this time for good. All this biography is from a page at AllMusic.com. At some point a compilation of Wicked Lady’s song was released by Kissing Spell Records, which is when the band went from anonymous bangers to psychedelic revival candidates. One of their newly found fans created this excellent home made video on YouTube in 2012. You can find their tunes on Google Music and Spotify. In the end, it looks like Wicked Lady is kind of immortal.
Another home made video for this song.
Seems that the music is now licensed to YouTube by a Spanish record company called Guerssen.

The Dirt

So Mötley Cruë made the movie of their story, and it’s on Netflix. It’s called The Dirt, and it is about the band’s life told through the voices of its members. This is standard modern narrative. You have a narrator or narrators who know more than the characters, and who know where the story ends up, cracking wise while moving the story along quickly. And, if you like naked women, eye poppingly. I spent all of watching The Dirt wishing I was sitting in my TV room with Steve Moyer, not because he admired the Cruë, but because he loved tales of rock ‘n’ roll life, and this is definitely that. I’m ambivalent. The scenes of debauchery are debauched, but are mostly offensive because the premise seems skewed. What is misogyny is played for the cutes. The naked ladies are jokes, at least until the lady leaves, at which point love is lost. Boo hoo, and boys are sad. This isn’t a sophisticated look at the way the world works, but the movie feels like a somewhat accurate look at the adolescent rock life, and the way it changes with rehab and maturity. It way underplays the tunes, which you would think a movie produced by the band would try to promote. But they’re all sober now, and maybe better understand their weird moment in rock history. Steve, how do you feel about this one? I watched the whole thing, even though Vince Neil looked like Wayne or Garth from Wayne’s World (I forget which one), which bothered me a lot. You may not have. No link to a Cruë song. I never paid attention to them, but I did watch their movie. Weird.

Basement 5, Last White Christmas

I bought the Basement 5 album 1965-1980 unheard. Cool logo, promise of reggae-punk fusion, and I’m not sure what else. Did I know the drummer was in the Blockheads? I don’t think so, but maybe I did. Don Letts sang with the band at some point, but they weren’t Clash or PiL associated that I remember at the time. But who knows, it was a long time ago.

I stumbled across the artwork yesterday, remembered I owned the disk, then found that the elpee had been rereleased recently on vinyl by Rough Trade. And then I stumbled upon this Peel Session recording from 1980, which sounds a whole lot better than the album did. Or does.

I was talking about this at dinner last night at a friend’s house, the song immediately appears on our host’s Spotify over Sonos magnificent sound system from the elpee, and it sounds terrible.

Peel Session sounds great. Last White Christmas is a keeper. My attention has wavered on and off after that one. But for an obscure one-off from a long time ago, having one song worth listening to is pretty darn good.

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.

Rock’n’Roll Is More Than Three Chords

Before I retired, I was a pretty high level Project Manager at ATT, a gig I worked my last eight years with the company.

Of course at work we all have our own styles, and my boss decided to audit a meeting I was holding one day. This was fine: I liked my boss a lot, and was good at my gig and always got good reviews and such.

And, with my job, I usually ran between 4-6 meetings a day. As it happened, during one of the agenda items the day my boss listened in, a couple of team members got tasks accomplished that should have taken at least another month and I blurted out, “you guys so rock it.”

The only comment Yolanda made about handling my duties was suggesting maybe another word than “rock” was appropriate. But, after another year, she retracted since my clients mostly loved my work and style telling me, “Just keep doing what you are doing and be yourself. That seems to work quite well.”

It was a big moment, for being told professionally to be yourself, was not something I have ever been used to hearing in any environ.

I have thought about that incidentt in concert with the stupid and incessant discussions (nee arguments) on this site about what RockRemnants is about.

It is clear to me that in Steve’s view, we should only be writing around Rock’n’Roll for as he points out, that is in the name of the site.

But, aside from that being boring, not to mention smacking the face of Aristotle, our first literary critic, who said writing should “teach and delight,” Steve’s provincial view of the term as it applies is just a bunch of crap.

For one thing, we all have views and the site is for fun, so suggesting some category of music or art shouldn’t be included is specious. If all he wants to write about is the Germs, fine. Boring, yeah, but again, if that is what he likes, who am I to call him “an idiot” or suggest he “ramble incoherently?”

But, to me, as I have stated repeatedly, Rock’n’Roll is about attitude and the music is simply a subset of that mindset, irrespective of whether Allan Freed named the shit before he saw Elvis swing his hips or not.

For sure Rock’n’Roll is in the first licks of Johnny B. Goode, but it also lies within the words of Howard Beale (Peter Finch in Network) when he screams “I’m mad as hell and I’m not gonna take it anymore.” Rock’n’Roll is in the soul of any teenager who ever sneaked out of the house in the middle of the night to meet a lover in secret, or see a forbidden band, or ride fast in cars with one’s mates. And, like it or not, it is within Johnny Paychecks words when he said “take this job and shove it.”

So, for fun, here are some things that define Rock’n’Roll as far as I see it.

  • Muhammed Ali’s poetry and left hook.
  • James Dean’s smile.
  • Johnny Rotten’s sneer.
  • The Doors saying fuck you to Ed Sullivan with Jim Morrison screaming “girl we couldn’t get much higher” rather than the “much better” Sullivan insisted upon.
  • Mick and Keith’s on-stage interplay.
  • Joni Mitchell refusing to sell her song rights for commercial use.
  • Prince refusing to allow Itunes and Spotify stream his songs.
  • Marilyn Monroe’s voice.
  • Raj Davis’s homer to tie the 2016 World Series, and Ben Zobrist’s tenth inning double to tie it back up.
  • The wings at Virgil’s.

I could list more, but I think I make my point, and well, this is how I will continue writing and supporting the site because to me, Rock’n’Roll is indeed a music genre, but it is also part of a musical bigger whole, and music is one of the arts–like movies and painting and writing and all the other slices of imagination–the Muses ruled over.

To make one more point, if by having the name RockRemnants we are supposed to be limited to just Steve’s definition of the words and art form, then I suppose “all men are created equal” should only be applied to rich white landowning men, right?

And, if this song by Gabby Pahinui doesn’t kill you and tell you Rock is in everything, well, I feel sorry for your parochial existence.

 

 

 

Classic Discs Versus Teen Faves Versus Artistic Growth

In the process of discussing our teen favorites, Tom pointed to the incredible run of brilliant albums Steveland Wonder released and I commented, noting that I felt Talking Book, Fulfillingness First Finale, and Innervisions were on my list of artists who produced three just brilliant albums in a row.

Also added in were:

  • Blue/Ladies of the Canyon/Court and Spark (Joni Mitchell)
  •  Beggars Banquet, Let it Bleed/Sticky Fingers (Stones)
  • Revolver/Rubber Soul/Sgt. Pepper (Beatles)
  • Bringing it all Back Home/Highway 61/Blonde on Blonde

Elvis Costello (first three) and Neil Young (Goldrush through Harvest) also made it once the list was initiated, and Prince just missed. But Steve made suggestions of Alice Cooper, the Ramones, and AC/DC which I quickly dismissed

This does not mean I don’t love Road to Ruin and Love it to Death but if we look at Cooper and Steve’s example, maybe I can explain the difference, at least as I mean it.

Love it to Death triggered three wonderful albums from the Alice Cooper band, but the third, School’s Out was a little thin in my view, and Love it to Death included the throwaway Black Juju, an immediate disqualifier.

Why, you ask?

Because in looking at the records produced by the Beatles for example, in Rubber Soul the band clearly kicked their songwriting to a deeper level with the focus of their lyrics moving to a new level, not just for the band, but for pop music. The Fab Four continued this growth, both lyrically and sonic-ally with Revolver, and then even further with Sgt. Pepper. The same can be said about Wonder, Dylan, Mitchell, the Stones, Costello, and Young, all of whom have challenged themselves and their sound, pushing into new directions, and delivering breathing works that pushed the groups collaborative art to a new level.

Not that Love it to Death isn’t art, or a fantastic album, but as good as the record is, by Killer, the band was still spot on musically and lyrically, but while 18 might really fit what I defined above, nothing else on any of the three suggested Cooper albums suggests or provides any kind of growth of the group’s art and sound any further than where it was.

Not that this means Cooper or AC/DC or any performer(s) should be dismissed, but, there is a major difference between releasing three very strong discs that contain great songs, but all basically of the same ilk, as opposed to the other artists who truly moved their skills and experience to a different level.

Snotty? Maybe.

Elistist? Maybe.

But, well, hard to argue? I don’t know.

Have at it, and just to show I understand my roots, let’s leave with Alice, and as good a garage tune as you will ever hear. It is just the individual tune does not the album or artistic value of the relative catalog make.