(March 22, 2019; WILDEY THEATRE, Edwardsville, IL)
I knew only a couple of things about Vanilla Fudge before I stepped into the Wildey Theatre to see them on March 22: One, that they had been around a long, long time, and two, that they took an old Supremes song called “You Keep Me Hangin’ On” and did a spectacular, lengthy remaking of it that became a giant hit and established a kind of freeform, jammy trademark that still powers their style today. VF bear many of the trappings of a classic prog rock band: Long instrumental passages, tight vocal harmonies and multi-textured keyboard work (courtesy of Mark Stein) that occasionally sounds like a relic from another era. Which it sort of is. But what prog rockers do you know that start their show with… a MONKEES song? That almost made me fall over, their wildly unique take on “I’m A Believer,” which had a bigger impact on me than you might expect since I’d just seen the Dolenz and Nesmith show in Saint Charles not even a week prior. Wow! It was almost unrecognizable, but there it was… the beloved Neil Diamond-penned number. That was followed by something else unrecognizable but jammy, which they introduced as “a tribute to our old friends, the Doors.” And this one was… “Break On Through (To the Other Side,” which featured their own three-part harmonies, slowed down but repeated over and over on just the phrase “Break on through.” Okay, so now it was clear that we’d be treated to epic cover songs, done in a manner seldom heard before. These guys, original members Stein, guitarist Vince Martell, drummer extraordinaire Carmine Appice and “the new guy,” bassist Pete Bremy, who replaced Tim Bogert in 2010, have a curious aesthetic that is nostalgic but fresh, proggy but curiously low-key, sonically far out but couched in a downright neighborly stage demeanor. They told the story of dedicating Curtis Mayfield’s “People Get Ready” to Martin Luther King right after he was assassinated; it was sung by Appice here with tenderness and power, and laced by terrific organ work by Stein. Soon after they did a casual original both retro and vitally relevant, “Let’s Pray For Peace.” That was from their classic SPIRIT OF ‘67 album, and Stein talked about how the band had the chance to play it in Belgium not long after the terrorist incident there. Good as all this was, the show’s real highlights were yet to come.
VANILLA FUDGE (Mark Stein, Vince Martell, Carmine Appice, Pete Bremy) (photo credit: JIM FORD)
“This song took up an entire side of our fourth album,” the band cheerfully announced, before launching into “Break Song,” an incredible extravaganza that was sometimes loud, sometimes soft but always musically engrossing, especially when it featured a borrowed chunk from Lee Hazelwood’s “Some Velvet Morning” and then segued into “Season of the Witch,” which clearly took the audience to a whole new level of psychedelic nirvana. The vibe was like Kansas meets Yes at times, but actually, it was the kind of thing Vanilla Fudge excels at, these long, intricate, rapidly varying passages. It was clear to me that they were underrated… possibly because cover bands don’t often rise to the level of bands that do this sort of thing on their own material. But it was grand, and it was mesmerizing. So was the unbelievable drum solo Appice performed on “Shotgun,” a song they did on THE ED SULLIVAN SHOW, they told us. Drum solos can be tedious and overly cliched, but in all honesty, this was one of the best drum solos I’ve ever heard. Appice performed with muscular mastery, keeping it intense and focused, and doing a section with only one stick which you could see he was passing from one hand to the other. The sound was especially bracing and adrenaline-pumping for this showcase. And he justifiably earned a partial standing ovation. Next, Stein told the story of how long ago, in ‘68, a band opened for them featuring the “guy who had just left the Yardbirds, Jimmy Page.” At this time, Vanilla Fudge were at their peak, with three albums in the Top 40. These young whippersnappers, Led Zeppelin, may have opened for them this one occasion, but soon eclipsed them… and every other band by becoming the biggest thing in the rock world. Such is fate! The Fudge did a tribute album called OUT THROUGH THE IN DOOR, and they quoted from it with a fun combo of “Dazed and Confused” and “Babe I’m Gonna Leave You.” No, they aren’t the Zep, but this was still a nice, fun surprise. Everyone was waiting for the big hit, of course, “You Keep Me Hangin’ On.” They talked about the initial inspiration for it, which was an offhand exposure to the song outside a club in the ‘60s, and then invited the audience to sing along on the chorus. Who’s gonna refuse that offer? It’s their signature song, and they know it. A vibrant encore of the Zombies’ “She’s Not There,” then it was all over. I didn’t really expect to be so impressed by these guys. I’d heard a few of their songs before and sort of had an idea what I’d hear… lots of organ and guitar, long instrumentals. I had no idea. They are masterful musicians, nice guys, and unique in being able to survive performing long, often weird versions of other people’s classics. Not to mention having clearly one of the best drummers in the world in their lineup, and singing sterling three-part harmony. This was quite a fantastic show, to summarize. I’ve now been educated in the tasty stylings of “the Fudge,” and I won’t forget it.
Even though Ace Frehley wasn’t my favorite member of Kiss, I was certainly appreciative of his guitar pyrotechnics (figuratively, if not literally) and, once I heard his first lead vocal on the LOVE GUN track “Shock Me,” his stock shot up dramatically in my estimation; the band now had three very distinct voices (Ace’s other-worldly, Marvin the Martian on helium atonal delivery alongside Gene Simmons’ deep-throated growl and Peter Criss’ gravelly purr) to offset Paul Stanley’s rock star style and front-man proclivities. Frehley’s ups and downs (and ins and outs) with Kiss and his battles with more than a couple of personal demons have been well documented; I won’t waste your time rehashing Ace’s checkered past… I’m just glad to have new music from the man.
ACE FREHLEY (uncredited photo)
SPACEMAN kicks off with the anthemic grind of “Without You I’m Nothing,” a track – surprisingly – co-written by former bandmate Gene Simmons, who also adds some chunky bass to the proceedings. Ace’s vocals, which have taken on a certain world-weary quality, are in top form and a slow-build solo is a much-needed cherry on top; not that the song is bad, it just never seems to catch fire, much less spark, aside from that solo. “Rockin’ With the Boys” is a hook-laden rocker that, oddly, hearkens back to “Beth” with its “No need to worry/I’ll be home soon/’Cause I’m rockin’ with the boys” chorus. The song is quite easily one of the best things Ace has recorded as a solo artist. Proving himself to be “King of the Power Chord Riffing World,” the hooks just keep coming with “Your Wish Is My Command,” Ace continues to turn up the cool factor with each successive tune. Even though Alex Salzman is onboard as bassist, the cut is another Simmons co-write, featuring just about everything that we’ve ever loved about Kiss. “Bronx Boy” has a little harder edge than the previous tracks, but then, the New York borough that spawned Frehley and Kiss tends to be a little harder edged than a good chunk of the United States. Another anthem, “Pursuit of Rock and Roll,” closes the first half of the album, as Ace name-checks some of the biggest names in the history of good ol’ Rock ‘n’ Roll, while visiting upon many of the cliches that the music is founded upon: Power chords, riffs you could caulk your house with, wicked solo after wicked solo, gang vocals and, I’m pretty sure that there’s a chunk of apple pie in there somewhere. Oh, and Anton Fig. Ace’s long time friend (Fig played drums on Frehley’s first solo record way back when) is in there, too. While Scot Coogan and Matt Starr are fine time-keepers, they aren’t always willing to show any flashes of aggressive playing, tending to keep things simple which allows the guy who’s name is on the album cover to show off his prodigious guitar chops; Anton has played with Ace long enough to feel comfortable playing with a more aggressive style.
ACE FREHLEY (photo credit: JAYME THORNTON)
Even though it’s a cover (originally recorded by Billy Satellite, later a hit for Eddie Money), “I Wanna Go Back” fits in well with what could be described as a “developing pattern,” with its lyrics-as-catharsis recalling both the happier times and a life sometimes ill-spent. The song, short on lyrical content (though it does get the point across nicely), is a mid-tempo rock ballad that fades just as Frehley takes flight on another guitar solo. Picking up the mantle envisioned with the album’s title, Ace is off to the final frontier with “Mission To Mars.” It’s another song that somehow feels unfinished; again, the tune’s not bad, just… incomplete. Another fine solo saves the number from mediocrity. “Off My Back,” likewise suffers from an early fade. The number itself feels more fully formed than the previous two cuts, with an aggressively biting vocal and another finest-kind solo. The album’s final track, “Quantum Flux,” is an instrumental track with ebbs and flows that has me thinking that I sure wouldn’t mind hearing an entire record of instrumentals from Mister Frehley; hey, don’t laugh… it has been done before. With a really cool acoustic riff playing underneath, Space Ace delivers some of his tastiest runs on this piece. Even though there are other stellar moments on SPACEMAN, it seems that Frehley saved the best for last. I will admit that many of the problems I mentioned above are merely minor annoyances; something a bit more troubling is the mix on the vinyl version of the record (the version I used for this review). The music seems compressed and muddy, which could have clouded my perception of the players’ (particularly drummers Starr and Coogan) performances. With vinyl making a strong comeback, it’s a shame that many of the mixing techniques that were perfected in the ‘70s and ‘80s are now, seemingly, forgotten. Still, while this album probably won’t get as many plays as DESTROYER or HOTTER THAN HELL, it won’t necessarily be collecting dust on my shelf, either.
Upon first seeing the name, Adrian Aardvark seemed to me a devouring angel, an agent of the bleakest of Black Metals. Nah… just kidding. In fact, I wasn’t sure what to expect from this album but, I gotta say, it isn’t at all like anything else I’ve heard before… not even close! I mean, it looks and smells like a rock and roll record, spliced with a fair amount of Americana and not a little bit of angst. Even so, my initial thoughts were leaning toward “Ah! Someone’s rich father has bought studio time for his son and his friends to record an album. Kinda like the Shags, woefully untalented but determined to become a band.” After a couple of songs, however, I began to warm up to, even appreciate, what this motley crew were attempting to convey. Oddly enough, while researching the band for this piece, I was amazed to discover that DYING OPTIMISTICALLY is the group’s seventh release since 2008 (and the first since BONES POSITIVE, an EP released in 2014)! I cannot honestly conceive of how I could have missed anything for the last ten years called Adrian Aardvark, though I am now old enough that such things do escape me upon occasion. Anyway, on to the review…
ADRIAN AARDVARK (Daz Bird, Shannon Stott-Rigsbee, Catherine Harrison-Wurster, Christopher Stott-Rigsbee) (photo credit: JERRY CADIEUX)
The first thing that you notice on “Just Us” is alluded to in rather veiled terms up above: Everything (wait… make that EVERYTHING) seems woefully out of tune, with the singer, Christopher Stott-Rigsbee, sounding alarmingly like a drunken karaoke enthusiast. Somewhere around the two minute mark, things almost come together, as a fuzzy bass (or, is it a cello?), insistent drumming and the scraping of a violin keep the thing from totally going over the cliff. Bonus points for – unlike the short prelude/introduction/tune-up that starts the song off – everything ending together. “If Only” definitely sounds like a drunken lament to a litany of “what if’s” in a relationship gone very wrong. Stott-Rigsbee lists his transgressions before admitting, “Yes, I am ashamed of my insecurities/Yes, I am ashamed of my stupid feelings.” Here, the music kinda sounds more in tune and of one mind, occupying a certain feedback/drone frequency that is not unappealing. In fact, the discordant buzz of the whole mess is really starting to grow on me. The cello takes a more prominent spot on “Peace In a Loving Way,” with Shannon Stott-Rigsbee droning away masterfully. The lyrics seem as though they are wedged into a melody that is simply too small to adequately contain them; try, for instance, to fit the first verse into any standard rock format without breaking your tongue: “Through updates, versions and brand new postages/The letters inside remain the same as they travel to/You through signals unseen, speaking words/Floating like waves whisper your way.” It ain’t easy. Even so, at less than two-and-a-half minutes, it feels like you’re in and out almost before you realize that the sound – and, in fact, the entire record – is actually becoming, not only palatable but, begrudgingly enjoyable, as well. The bizarrely-titled “Young Pharaohs and Horses” comes with an equally bizarre video… as it should! Drummer Daz Bard adds a bit of trombone to the proceedings, with Shannon chiming in with a scratchy (whinnying?) violin part; the weird, out-of-place gang vocals, like just about everything else on this album, are no doubt added to merely muddle the lyrical issue. Four songs in and Christopher is starting to come across as more of a true musical genius, as opposed to the offspring of a wealthy Daddy Warbucks type bankrolling his kid’s musical aspirations. “I Don’t Wanna Love No More” is a step back for me. It isn’t necessarily that the sentiments aren’t spot-on in a society of individuals struggling to find their place but, the acapella (aside from three drum rolls somewhere in the middle) delivery – impassioned as it is – just doesn’t do it for me. “Little Girl,” however, is a completely different beast. Despite some rather questionable lyrics: “I am a little girl in a big big world/My dress so clean and my hair is curled” and “Don’t you want to ride with me/Don’t you want to sleep with me” (allusions to Christopher Stott-Rigsbee’s… uh… fluid sexual identity, I know, but… still… ), this is the most fully realized, hardest rocking and most in-tune song so far. A throbbing bass line (Catherine Harrison-Wurster… on the upright, no less) and a frantic vocal performance from Christopher highlight the number.
“Creaky Wooden Floor” opens the second half – continuing the strong showing from “Little Girl” – with more weird metaphorical (metaphysical?) lyrics about beets and elephants. The song is pretty nifty, in a New Country kind of way and is delivered, like the previous four tracks, in a short, punk rock fashion. On “Get Gotten,” a chunky guitar riff rides along for a spell before being joined by a very nice violin part; the unmelodic, unnerving howls of Stott-Rigsbee deliver quite an impressive effect. Somewhere about two minutes in, the whole thing shifts gears amidst a beautifully shambolic break before completely collapsing in upon itself at the end. I may have just crowned a new favorite track! There is an insistent hint of didgeridoo (a masterfully understated performance by Christopher) throughout “Horny Wildebeast,” which seems perfectly natural given the song’s title. After a rather rambunctious start, the final four minutes or so seem to settle into a nice mid-tempo with – dare I say? – quietly elegant violin and cello dancing over the top. “Oo Ra Ra” and “The Sun” form a sort of intermingled couplet, with melody, choruses and chanting kinda running through the two-as-one pieces (or, piece, as the case may be). The former is a surprisingly melodic bit of falderol with lyrics somehow befitting the proceedings, such as “Put down the knife, we don’t have to fight/We can make love till morning’s light.” The number eventually devolves into the type of musical chants that the “natives” in all of those old Johnny Weissmuller movies are so fond of. “The Sun” blasts forth from that, a forceful, blistering piece of noise of the type I find so appealing. The lyrics here tend to lean toward a rather cogent warning from everybody’s favorite ball of light: “Feel my heat/Feel the cancer/You can’t be given life/Without being given death.” Oh, Sun, you’re such a kidder! A cool, unexpected blast of the Blues, filtered through various other styles of what has generally become known as “Americana” may, at a mere five-and-a-quarter minutes, prove “Misery Shaker” to be Adrian Aardvark’s magnum opus. Time changes and style shifts glide together seamlessly, held together by the superior percussive efforts of Daz Bird.
As mentioned at the outset, I was totally unprepared for the musical onslaught of Adrian Aardvark and was, initially, taken aback by the complete atonality of the first track but… I must say that I have been richly rewarded by sticking with the program, seeing it through to its brilliant climax. Heck, I may just have to revisit the group’s Bandcamp page and listen to their other releases… after I’ve rested up a bit from this DYING OPTIMISTICALLY experience.
(BARKING PUMPKIN RECORDS/ZAPPA FAMILY TRUST/DTS ENTERTAINMENT; Audio DVD, 2004) A REVIEW FROM THE VAULTS
To say that Frank Zappa was ahead of the musical curve – WAY ahead of the curve! – is, quite possibly, the understatement of this very young millennium. Recently, FZ’s eldest male offspring (the one titled “Dweezil”) discovered an old tape box, dated March 1, 1970, bearing his name (that would be “Dweezil.” We just went through this – in an earlier parenthetical aside – at the beginning of this impossibly rambling and circumlocutious sentence). The box contained a very early, unimaginably expansive recording of what would eventually become “Chunga’s Revenge,” recorded in an unto then unheard of separation/mix called “quadraphonic”; this recording, in fact, preceded the whole quadraphonic rage (“rage” may not be the best way to describe it, though… the process never really caught on with anyone other than audio geeks of the highest form) by several years and today’s hip new sound, Digital 5.1 Surround Sound by nearly three-and-a-half decades! That recording (in the guise of “Chunga Basement”) is now released in all of its four-channel glory, alongside nine other such experiments recorded by FZ and his various groups (Zappa, the Mothers, and… Dweezil, the proposed name of the new group with which Frank recorded this version of “Chunga… “). Dweezil (the son, not the band), after inquiring as to the existence of other like-minded recordings, has sequenced the ten tracks culled from the vaults of the Utility Muffin Research Kitchen, not chronologically, but with an eye (an ear?) toward maximum listenability. So, how’d the kid do? Let’s examine, shall we?
Frank and Dweezil Zappa (uncredited photo)
QUAUDIOPHILIAC begins with two of Zappa’s orchestral pieces, the first (“Naval Aviation In Art?”) comes from the much-contested LATHER (an historic four-album set that was whittled up and edited into five separate albums – STUDIO TAN, SLEEP DIRT, the two-record set LIVE IN NEW YORK, and ORCHESTRAL FAVORITES, the latter being the place that this tune eventually saw release); the second is a re-worked, unreleased “Lumpy Gravy” from the same session that spawned the former. The two tracks combined clock in at a robust 2:39. The third track comes from the same source, but features – for the first time here – a signature FZ guitar solo. The previously unreleased “Rollo” is everything that made you fall in love with Zappa’s music (except without the pee-pee and fart jokes): Intriguing time-changes, adventurous arrangements, squiggly guitar leads. This, friends and neighbors, is truly the stuff of which FZ’s legend was made!
Aynsley Dunbar, Frank Zappa (uncredited photo)
A previously unheard version of “Watermelon In Easter Hay,” retitled “Drooling Midrange Accountants On Easter Hay” by Dweezil, is next. The new name comes from an FZ quote in which he discusses the record business in – as you can tell – his usual glowing terms; this spot-on diatribe is now edited over an alternate arrangement of the tune. The next two songs – SHEIK YERBOUTI’s “Wild Love” and SHUT UP ‘N’ PLAY YER GUITAR SOME MORE’s “Ship Ahoy” – feature several musicians who cut their teeth in Zappa’s late ’70s bands: bassists Roy Estrada and Patrick O’Hearn, guitarist Adrian Belew, vocalist Napolean Murphey Brock, and uber-percussionist Terry Bozzio. Though the songs are familiar, the four-channel mixes bring out the hidden intricacies inherent in all of FZ’s music. The much bally-hooed (just how much? Well, check out the first paragraph of this here critically-motivated piece) “Dweezil” tape rears its magnificent head next. Apparently, Dweezil would have been a kind of Mothers super-group in a standard four-piece rock setting: FZ on guitar (and, presumably, vocals), Ian Underwood on keyboards, Aynsley Dunbar on drums, and Max Bennett on bass. As far as I know, Zappa’s reasons for retiring Dweezil after this single recording session has never been revealed. Obviously, Frank decided to reconvene the Mothers in a newer, harder-edged version and to maintain his steadily growing solo career, as well. “Chunga’s Basement,” now, is merely a glimpse of what could have been.
Frank Zappa (photo credit: FRANK LEONHARDT/ASSOCIATED PRESS IMAGES)
The next two tracks are the oldest of these recordings, aside form the Dweezil tape. An unreleased live recording from 1974, “Venusian Time Bandits,” features three more impressive Mothers: George Duke, Chester Thompson, and Tom Fowler. While FZ usually went large – as on the WAKA/JAWAKA title track which follows – it is in the stripped down arrangements for four-piece combos that his own virtuosity is featured in its best light; there is no doubt as to the genius he displayed as a composer, a conductor, an arranger, a band leader. The thing that these smaller groups shows is that Zappa was an unselfish (though demanding) player. He was more thanwilling to stand aside and allow his bandmates to shine, but was able to play rings around just about anybody you could name when he chose. “Waka/Jawaka” is a prime example of FZ standing aside, allowing his compositional and arranging skills to dictate how the other musicians move the music along. “Basement Music #2,” a piece culled from the soundtrack to the BABY SNAKES movie, finishes the set off in fine fashion. Chil’uns, if the newly discovered mixes don’t sell you on this one, then the unreleased stuff is surely enough to convince each of you to become a QUAUDIOPHILIAC! Dude, this just reminds me how much I miss FZ… hopefully there’s more to come.
Mark Lindsay, 2013 HAPPY TOGETHER TOUR (photo credit: TOM LEPARSKAS/O’BRIEN)
Let’s be honest: While the band played up the name of their leader, the undisputed focal point of Paul Revere and the Raiders was singer Mark Lindsay. Obviously, he was blessed with the smoldering good looks that made him the object of millions of teenage girls’ fantasies but, he also had an intangible savagery – in his vocal delivery and his stage presence – that made him cool enough for the guys to like; both of those things were enough for some parents to ban the group’s records from their homes and pin-up pages from TIGERBEAT, 16 and FLIP magazines from their daughters’ walls but, the songs Mark and the Raiders performed, at least until 1967 (or thereabouts), was pure pop confection (Lindsay’s growl aside) that most parents found rather innocuous and non-threatening to their impressionable offspring.
After winning a talent contest at fifteen, Mark was offered a spot in a band called the Idaho Playboys; however, the group’s leader (one Freddy Chapman) relocated shortly after, leaving the Playboys (minus Lindsay) to soldier on, playing the local bar circuit with their new organist, a guy called Paul Revere. Mark caught the band’s act one fateful night, asking them if he could join in for a few numbers. The next day, a chance meeting with Revere, who walked into the bakery where the youngster was working led to Mark joining Revere’s nascent group of musicians. As the group’s sound began to gel into a rough Rhythm and Blues, Lindsay suggested they adopt the name, the Downbeats, after the influential Jazz magazine of the same name. That was in 1958 and the two went on to perform together for nearly two decades.
The two prime movers of the band soon decided to exploit Paul’s name, changing their moniker to Paul Revere and the Raiders and adopting the dress of the Revolutionary War’s Colonial Army. It wasn’t long before Columbia Records began adding “featuring Mark Lindsay” to the group’s name on album covers and single labels. By 1966’s THE SPIRIT OF ‘67 (released under the title GOOD THING in the United Kingdom), Mark was not only singing and playing sax with the group, he was also writing many of the Raiders’ tunes – occasionally with Revere and various other Raiders but, usually with his friend, producer Terry Melcher. He was also the ONLY band member to appear on a majority of those tunes, including the hits; in fact, more than a few of those singles were originally recorded as Mark Lindsay solo records. When Lindsay finally left the Raiders in 1975, he had already forged a fairly impressive solo career. Somewhere along the way, disillusionment crept in and Mark decided to call it a career but, the pull of the studio and the stage brought him back… only to retire again a few years later. The man, however, has music stamped into those little genomial strands of DNA, so he is continually drawn back to his first love (sorry, Deborah). With recent stints on Mark Volman and Howard Kaylan’s HAPPY TOGETHER package tours and the occasional solo show under his belt (and a new album in the offing), he remains a solid live commodity to promoters and venues across the country.
Paul Revere and the Raiders, 1967 (Phil Volk, Drake Levin, Paul Revere, Mike Smith, Mark Lindsay) (photo credit: ASSOCIATED PRESS)
This summer, Lindsay has joined his old friend, the Monkees’ Micky Dolenz, for the 50 SUMMERS OF LOVE TOUR, a night of Dean-and-Jerry-like frivolity and music. I had the chance to speak with Mark recently about his career, working with Dolenz and the new tour.
THE MULE: You’ve been performing, making music since you were like sixteen, seventeen years old.
MARK LINDSAY: Well, more like thirteen to fifteen. I was a kid.
THE MULE: Okay. Did you ever, in your wildest dreams, think that you’d still be doing… that you’d be doing this nearly sixty years on?
MARK: Believe me, I never thought I would LIVE to be this old. I mean, I thought… When I was starting out, I thought, “What is there after thirty?” You know? What future would anybody have after thirty? I really thought that was the end of it but, obviously, I would’ve been very surprised. However, I’m very gratified that I’m still doin’ it.
THE MULE: Very nice. Yeah, you know… it always amazes me that there are a lot of guys (and ladies) that were big… uh… mid-sixties, early seventies and so on that still just have this incredible drive and desire to do what you do and it…
MARK: It was… It’s so much fun to do and so gratifying and, as long as I can do it, have fun doing it and do it well… hopefully!… and if people still keep coming… I mean, Rock and Roll, which Mitch Miller predicted would die in the ‘60s, of course, never died and it’s still out there and as long as… It’s still alive, man. I mean, it’s the only genre of music that I get to give that’s lasted fifty years. So, more power to it!
THE MULE: Exactly. And, you know, just to touch on a couple of points through your career before we jump into the 50 SUMMERS OF LOVE TOUR. Uh… you worked with Paul Revere and various versions of the Raiders for a very long time and, I know that you kinda had like a… an up-and-down relationship – if you want to call it that – with Paul and… I’m just curious to know if you were in contact with him or he with you during the latter years of his life. Or, really, any of the old Raiders guys.
Mark Lindsay (photo courtesy: REAL GONE MUSIC/SONY MUSIC ENTERTAINMENT)
MARK: Well… Yeah, I was with the Raiders, as you said, throughout the whole recording career, basically. I was on every song that the Raiders had that was a hit. In the later years, I… it was an up-and-down relationship but, in the later years, I did try to stay in touch with Paul but, he was… he had a lot of problems, as you know, and unfortunately, we never got that last conversation that I would like to have had. But, you know… That’s the way life goes sometimes.
THE MULE: Yeah… yeah. Another big, driving force, possibly in your career… certainly the career of the Raiders was Dick Clark. I mean, he really kinda stepped up and said, “Hey, I want you guys for this,” and he pushed you to the forefront…
MARK: Well, he gave us a platform and we just kinda took over and, you know… He actually hired the Raiders, he confessed later, for a thirteen week period and he thought that if the show – WHERE THE ACTION IS – took off, he’d be able to hire a real band. At the end of the thirteen week period, luckily, the… it was kinda like a precursor to MTV… the whole nation got to see us and the whole nation… I guess, most of them liked us because, by the end of that thirteen week period, we had become that real band he was looking for.
THE MULE: How much… You know, every band goes through it… there’s a period, mid-’60s kind of stuff, where it was more of a Pop feel and you’re kinda… even though you wrote a majority of the songs, a majority of the hits, there were other people involved in songwriting and, probably, there were other people coming and performing the parts that – generally speaking – the band should be playing… I mean, how much of that actually happened, how much was actually the Raiders in the studio, doing it the right way?
Paul Revere and the Raiders, circa 1966 (Paul Revere, Drake Levin, Mark Lindsay, Phil Volk, Mike Smith) (uncredited photo)
MARK: Well, the Raiders… the guys… everybody played on the records up until and through “Good Thing” and then, after that, we were touring so much – we were on the road, like 250 nights a year – and Columbia had a three album schedule… you know, they wanted three albums a year – and, of course, they wanted singles. So, Terry (Melcher) and I would write, or we’d get Barry Mann and Cynthia Weil, who wrote… “Kicks” and “Hungry” were a couple of their songs. But, we would record… we would start the songs and go into the studio and, of course, if you listen to… I would say ninety percent of the music that was cut in the mid-’60s in Los Angeles, the Wrecking Crew was either THE band or part of the band, however supplemental. We just didn’t have enough time to “can” everything, so Terry would work on the tracks while we were gone and then, I’d come in and put the lead vocal on and we’d spin it there to the background. I mean, we’d… But, that was the formula we used and some of us… From time to time, some of the guys would be on the record but, it wasn’t a thing with a whole band type of luxury of being in the studio at the same time. We just didn’t have time to do that.
THE MULE: That had to be like, really just exhausting for you because… yeah, you can replace a guitar player, you can replace a drummer, you can replace a keyboard player but, you cannot replace the recognizable voice of a band.
Paul Revere and the Raiders, 1967 (Paul Revere, Drake Levin, Phil Volk, Mark Lindsay, Mike Smith) (publicity photo)
MARK: You know, it was… Looking back on it, it should have been more exhausting but, quite frankly, there was no place I would have rather been. I mean, I liked performing on the road but, I really liked the studio, so, when I came back from a tour, I would drop my bag and head for the studio. And, basically stay there until we had to be on the road again. But, I enjoyed it so much that it didn’t seem… there was no question. You know, when you’re in your twenties, you can kill yourself several times and still bounce back from the dead. It didn’t seem to be that much of a hardship at the time. I really enjoyed it.
THE MULE: Right, right. We’re just not quite so resilient nowadays.
MARK: Yeah. I enjoyed making music so much, that it was certainly a lot more of a positive thing than it was a negative thing for me, so… I had a lot of fun.
THE MULE: Cool. So, let’s move into… uh… today.
THE MULE: So, what can we expect on the thirteenth in Saint Louis – the Saint Charles Family Arena – with the 50 SUMMERS OF LOVE TOUR? And… I guess, how has this tour differed from the HAPPY TOGETHER shows you were involved with?
MARK: Well, HAPPY TOGETHER, of course, has each artist… It’s more… it’s kinda like the formula that Dick Clark… CAVALCADE OF STARS. You had one band come on and one act, then another and then another until everybody had played. The difference with 50 SUMMERS OF LOVE is, Micky and I are together but, instead of one performer doing his songs and then… you know, opening up for the other guy or vice-versa, were both onstage, basically, together all the time and, we’re doing Monkees songs and Raiders songs, of course, but… he’s singing on some of the Raiders songs, I’m singing on some of the Monkees songs… we goof around. It’s just more of a partnership or a duo onstage so, I really don’t know what you can expect. Basically, we’re both onstage from the time the curtain goes up to the time the curtain goes down.
THE MULE: Awesome! Now, you… Obviously, both of you guys were on TIGERBEAT covers and, you know, everything throughout the ‘60s but, how and when did you and Micky actually meet?
Mark Lindsay, 1967 (photo credit: TEEN LIFE MAGAZINE)
MARK: Oh, we met WAY back. He was… I lived a the top of the hill, Lookout Mountain over Laurel Canyon and he lived in the Canyon. We got together from time to time but, we both were so busy at the time, we didn’t have much time to hang out. There wasn’t much hang out time that was happening. So, I’ve known Micky for a long time. I mean, we’ve gotten together over the years but, not to the extent that we’re together now. But, it’s just a lot of fun, a fun show. I’ve heard comments from people who see the show, it’s really different than anything else because it’s not just one guy coming out and doing his hits and then another guy coming out and doing his hits. It’s more of a joint effort, for sure.
THE MULE: So, this is a chance for Saint Louis to hear, probably, the two most famous versions of “(I’m Not Your) Steppin’ Stone,” then.
MARK: Oh, yeah. You bet! We do it together.
THE MULE: Cool! That’s awesome. That was one of the things that I was wondering… how you guys were going to handle that song, in particular. Uh… the Fab Four, the Beatles tribute… they are opening the show but, they’re also acting as the house band, right?
MARK: Yeah. They open the show. They have an incredible act. If you… I mean, I swear, they sound so much like the original guys, the Beatles and, they look like ‘em. You know, they have the costumes and everything. So, if you close your eyes… you don’t have to close your eyes even… it’s almost like hearing SERGEANT PEPPER… live. If you could hear SERGEANT PEPPER… live. But, since the Beatles will never be together… that’s impossible ‘cause a couple of those guys are… uh… we’ll never see it again. But, it takes you right back to the sixties and between… you know, the Beatles had so… Oh, my gosh, they pretty much performed the soundtrack of our lives. And, of course, the Monkees had a lot of hits and the Raiders had a lot of hits so, if you like that period of time – the mid-’60s – which I think is one of the richest and most prolific times of Rock and Roll… so many great songs were being written and so many great acts were out there. If you like that period of time, you’re gonna be taken right back there and, of course, with Micky and I doing… you know, singing part of each other’s songs and being together, you get a different take of a song… at least, ours, as well.
THE MULE: How do the musicians kind of fit in with what you’re doing and how do you guys… Micky and you… Do you kind of attempt some Beatles stuff throughout your set?
MARK: We leave most of… Well, we do a couple of songs toward the end that… Most of the Beatles songs are done by the Fab Four. We have… Luckily, the Raiders and the Monkees both had enough hits that we have plenty of material for our own show. But, it’s just… It’s just a lot of fun. That’s all I can tell ya. I mean, you never know exactly what’s gonna happen.
THE MULE: So… let’s get into your new album, your new project. Tell us about that a little bit and how everyone can get a copy of it.
Mark Lindsay with Brian Wilson, 2013 (photo credit: JEFFREY FOSKETT)
MARK: Well, it’s not quite out yet but, it will be. It’s songs I started two or three years ago. I started… Brian Wilson was looking for songs for a solo album so, I started writing some songs that I thought were kind of like evocative of the period and that I could kind of hear the Beach Boys doing in that kind of style and… I presented them to him and he liked a lot of them but, then, I don’t know what happened… Maybe his producer didn’t care for the tunes. One thing led to another and nothing happened. The songs were just laying there, so I went, “Well, what the heck?” So, I went ahead and finished them myself and… uh… So, it’s like… it’s just kind of a slice of that time, that much… a kind of a… I don’t want to say softer edges… Well, yeah… A slightly different style of music than people probably expect from me. But, I think the songs are great and I had a lot of fun doing it and it’s going to be out soon. It’s called… It was started long before this 50 SUMMERS OF LOVE TOUR was proposed but, that’s the title of the project. It’s called SUMMER OF LOVE. I wrote a couple of songs with that title so, it kind of fits in but, it’ll be available quickly.
THE MULE: Alright. We’ll be looking for it. Definitely. So, I guess we can wrap this up. With all of your solo stuff, the stuff you did with the Raiders, the various package tours that you’ve been on over the years… uh… Everything – soundtracks, movie roles… What are you most proud of in your life and in your career?
MARK: Well, probably, I think “Indian Reservation” is certainly an iconic record and production. I’m very proud of that. For a lot of reasons – lyrically and performance-wise but, it was just such a statement for the time that needed to be… a story that needed to be told. The song was written by John D Loudermilk and one of the reasons that it sold almost six million copies is the fact that it was just something that, you know, was very timely and… uh… There it is. I’m proud of a lot of stuff but, if I had to pick one… one thing – and, that’s very hard to do… because it’s not as much Rock and Roll as, for example, “Good Thing,” but, just for a song that made a statement that probably impacted more people than any other, I’d pick that.
THE MULE: Okay… awesome. I would tend to agree. I mean, I can think of a lot of songs that I really, really like but… I was born in ‘58 so, you know, by the time that came around, I was really just kinda starting to get into music and stuff and I remember the first time I heard that… it was just like, “Uumph!” You know? It hit me like… It meant something, you know?
MARK: Yeah. It was… Well, all the musicians on the record, it was… It’s funny… it was basically going to be a Mark Lindsay single and we cut it as that but, I was… Since I produced it, I thought it was great but, I wasn’t sure whether I thought it was great because I produced it or because it was really great. So, I was very ambivalent about releasing it under my name and so, finally, the… Jack Gold, the head of A and R for CBS said, “Look, if you don’t wanna release this as Mark Lindsay, I’m gonna put it out as the Raiders.” I said, “Okay. Fine.” And, he did. So, it’s the biggest record the Raiders never played on!
THE MULE: That’s funny! How big… You know, another question occurs to me. I mean, we talked about Dick Clark and we talked about Paul… How big of – I guess I can’t say “influence,” because it would be more the business side of things, but… How much did Clive Davis play into the career of the Raiders and Mark Lindsay?
Paul Revere and the Raiders, 1969 (Paul Revere, Keith Allison, Freddy Weller, Mark Lindsay, Joe Correro, Junior) (uncredited photo)
MARK: Well, he was on our side through most things. Whenever I asked him for something, I usually got it. But, there’s one thing that he asked me to do that I didn’t do and, I don’t know what would have happened had I done it. But, I don’t regret it. In the middle of the Raiders’ career, like in the late ‘60s, early ‘70s, he came to me with an idea and he said, “Look, I want you to leave the group and become a solo artist.” And he played me some songs and he said, “I think you could… ” He’d heard some of the solo stuff and he said, “I think you can be, you know, like a… ” He didn’t say but, he kinda intimated… like Johnny Mathis. “Wow… well, that’s pretty ambitious!” You know? I mean, nobody can be a Johnny Mathis. Except Johnny Mathis. I like… Basically, it came down to, I just like Rock and Roll so much that I said, “I’ll continue to do my solo stuff but, I don’t wanna leave the group.” So, that’s where that one… And, that’s the only thing that he asked me to do that I didn’t do but, you know, it all worked out in the end!
THE MULE: Yeah, absolutely! I’d say it did. You’ve had a great career… ‘60s stuff, ‘70s stuff still sounds crisp and enjoyable today and, I’m just lookin’ forward to seeing you on the thirteenth and maybe hang out a little bit and we can maybe discuss some stuff a little bit further.
MARK: Okay, Darren, I look forward to it and… uh… like I say, I can’t guarantee what’s gonna happen but, it’ll all be fun. Looking forward to it.
THE MULE: Alright, man. Thank you so much.
MARK: Alright, Darren. Thank you. We’ll see you on the thirteenth.
50 SUMMERS OF LOVE
Mark Lindsay and Micky Dolenz, along with the Fab Four: The Ultimate Tribute brings the 50 SUMMERS OF LOVE show to the stage of the Family Arena in Saint Charles, Missouri on Friday, October 13th for what promises to be a fun time for the entire family. For ticket information and additional tour dates, visit the tour’s Facebook page.
The Summer of Love (San Francisco, 1967) (photo credit: SAN FRANCISCO CHRONICLE ARCHIVES)
It’s hard to believe that this summer marks the 50th anniversary of the so-called “Summer of Love,” highlighted by a major explosion of influential rock acts, mind-expanding music and… oh, yeah!… there was that landmark Beatles album, SERGEANT PEPPER’S LONELY HEARTS CLUB BAND. 1967 was a watershed year for music; a year which saw the release of several important debut albums and a slew of downright great rock ‘n’ roll records.
Big Brother and the Holding Company (James Gurley, Sam Andrew, Janis Joplin, Dave Getz, Peter Albin) (publicity photo) Grateful Dead (Phil Lesh, Jerry Garcia, Bill Kreutzmann, Bob Weir, Ron McKernan) (photo credit: HERB GREENE)
The Doors’ first album came out early in the year, along with another important first step in the psychedelic movement, as SURREALISTIC PILLOW by the Jefferson Airplane, Grace Slick’sdebut with the band. The Grateful Dead followed with their first album about a month later. At the same time, the Godfathers (and Godmother) of punk and alternative rock hit the ground running with the Velvet Underground’s opening salvo. Janis Joplin got some attention as the new singer for Big Brother and the Holding Company, while a former US Army paratrooper, ex-pat who also played a little guitar released his first album, ARE YOU EXPERIENCED, as front man of the Jimi Hendrix Experience. The Beatles came out with their magnum opus, SERGEANT PEPPER’S… on the first day of June; while they were recording what many consider the greatest album of all time, a band called the Pink Floyd were also working at Abbey Road Studios, just down the hall from the Fab Four, on their first album, Syd Barrett’s psychedelic masterpiece, THE PIPER AT THE GATES OF DAWN. Late in the year, Cream, Traffic, Buffalo Springfield and the Who gave us still more great music (in the forms of DISRAELI GEARS, MISTER FANTASY, BUFFALO SPRINGFIELD AGAIN and THE WHO SELL OUT, respectively). The Monkees, the Beatles, the Turtles, Aretha Franklin, the Box Tops and Lulu all hit the top of the singles charts with unforgettable tunes throughout the year. The year 1967 was, indeed, a watershed year for pop music and the year that rock and roll grew up, expanding musical limits and young minds the world over.
THE BEATLES: SERGEANT PEPPER’S LONELY HEARTS CLUB BAND
SERGEANT PEPPER’S LONELY HEARTS CLUB BAND; The Beatles (Ringo Starr, John Lennon, Paul McCartney, George Harrison) (publicity photo)
Obviously, SERGEANT PEPPER’S LONELY HEARTS CLUB BAND is the standard by which all music released in 1967 (and, in fact, in the fifty years since) is measured. The album was a big surprise when it came out… lots of folks actually thought the Beatles might be breaking up because they hadn’t released anything new since February, with the single “Strawberry Fields Forever” (and, their last album, REVOLVER, hit the streets nearly a year earlier, in early August, 1966). Ironically, the John Lennon-penned “Strawberry Fields… ,” the very first song the Lads worked on for the album, didn’t even make the final cut. SERGEANT PEPPER’S… was a true product of the great working relationship between the Beatles and their producer, George Martin, who took the band’s brilliant pop songs and grandiose ideas, molded them into a cohesive orchestral whole and just made everything work… beyond anyone’s wildest dreams. The record’s last track, “A Day In the Life,” was immediately recognizedas one of the Beatles’ best and most important songs; Lennon’s dreamy vocals at the start are still as haunting as ever and Paul McCartney’s amazing bass playing stands out, as it does throughout the entire album. Over the past fifty years,the Fab Four’s eighth full-length is as well known for the amazing cover by artist Peter Blake as for the thirteen tracks found within the sleeve; the songs, the performances, the production and the visuals all gelled to make SERGEANT PEPPER’S LONELY HEARTS CLUB BANDthe single most memorable moment in the annals of not only popular music, but popular culture as a whole. Rock and rolland pop music would never be the same; the rock medium, in particular, would move away from looking at an album as merely a collection of singles to a well thought-out, cohesive set of songs, sequenced to be enjoyed in its entirety. I was just thirteen years old when the record came out and, even after five decades, I still appreciate and still enjoy all the great music that came from that “Summer of Love.”
TOP OF THE POPS: FIVE ALBUMS THAT CHANGED THE LANDSCAPE OF POP MUSIC
JEFFERSON AIRPLANE: SURREALISTIC PILLOW
SURREALISTIC PILLOW; Jefferson Airplane (Jorma Kaukonen, Jack Casady, Grace Slick, Spencer Dryden, Paul Kantner, Marty Balin) (uncredited photo)
First and foremost, Jefferson Airplane’s SURREALISTIC PILLOW, their first with former Great Society singer Grace Slick, proved beyond any shadow of a doubt that a woman could rock the house down with the seminal Society leftovers, “Somebody To Love” and “White Rabbit.” Gracequickly ascended to become one of, if not THE premier rock vocalists of her time. With Slick on board, the Airplanewere quite successful, both commercially and critically, for several years, while “Somebody To Love” and “White Rabbit” have become radio standards. Jefferson Airplane became one of the symbols of a new era in rock music with the psychedelic folk of SURREALISTIC PILLOW. I still enjoy listening to it.
THE VELVET UNDERGROUND AND NICO: THE VELVET UNDERGROUND AND NICO
THE VELVET UNDERGROUND AND NICO; The Velvet Underground (Nico, Andy Warhol, Maureen Tucker, Lou Reed, Sterling Morrison, John Cale) (publicity photo)
The Velvet Underground’s debut – “produced” by Andy Warhol and featuring (at Warhol’s behest) Teutonic femme fatale, Nico – didn’t really hit me until years later, but the record’s influence was very important to many of the groups that I got into in subsequent years. The original group – Lou Reed, John Cale, Maureen (Mo) Tucker and Sterling Morrison – took quite a different approach to the commercial rock scene; their avant-gardesound, highlighted by great playing became the cornerstone that indie and alternative rock would build upon in the years since. As is often said, it may not have sold many copies, but everybody that heard it wanted to start a band; were the true alternative to pop music and started an underground rock movement that continues to reverberate throughout the music world.
THE DOORS: THE DOORS
THE DOORS; The Doors (Robbie Krieger, Ray Manzarek, John Densmore, Jim Morrison) (photo copyright: JOEL BRODSKY)
Another band that dabbled in the darker side of the musical spectrum was the Doors, perhaps darker even than the Velvets.Of course, the quartet’s first album featured the classic rock fixture, “Light My Fire,” which propelleda tragic rock god, Jim Morrison, into a larger-than-life cult figure, but it was songs like the eleven-and-a-half minute epic, “The End,” that truly defined the band. Eight months later, the group’s second record, STRANGE DAYS, cemented Morrison’s shamanistic standing with “People Are Strange,” the evil intent of “Moonlight Drive,” “Love Me Two Times” and another dark epic, “When the Music’s Over.” My favorite Doors album is actually MORRISON HOTEL from a couple of years later, but the groundwork was definitely laid on their classic first album.
THE JIMI HENDRIX EXPERIENCE: ARE YOU EXPERIENCED
ARE YOU EXPERIENCED; The Jimi Hendrix Experience (Noel Redding, Jimi Hendrix, Mitch Mitchell) (publicity photo)
Jimi Hendrix, Mitch Mitchell and Noel Redding hit big with their debut record, ARE YOU EXPERIENCED, though I didn’t get into Hendrix until a few years later. Jimitook the world by storm, becoming rock’s big guitar hero, virtually supplantingEngland’s rock gods,Eric Clapton, Jeff Beck and Jimmy Page, soaring to ever greater heights in a meteoric four year career. Tragically, Hendrix, Jim Morrison andJanis Joplin, along with the Rolling Stones’ Brian Jones all passed on within a couple of years of each other (between July 1969 and July 1971), becoming the first “official” members of what would come to be known as popular music’s “27 Club.”
PINK FLOYD: THE PIPER AT THE GATES OF DAWN
THE PIPER AT THE GATES OF DAWN; Pink Floyd (Syd Barrett, Nick Mason, Richard Wright, Roger Waters) (photo credit: ALAIN DISTER PHOTOSHOT)
Finally, we have the first record from the Syd Barett-led Pink Floyd, THE PIPER AT THE GATES OF DAWN, a group and an album that was the impetus for the Progressive Rock movement, which would spawn such acts asKing Crimson, Yes, Genesis and Emerson, Lake and Palmer, among others down the road. Oddly enough, the Floyd were recording their debut down the hall at Abbey Road Studios where the Beatles were producing their masterpiece. SERGEANT PEPPER’S LONELY HEARTS CLUB BAND was inspired by Brian Wilson and the Beach Boys’ PET SOUNDS album which, in turn, was inspired by the Beatles’ ownRUBBER SOUL. How much did what John, Paul, George and Ringo were doing in that neighboring studio inspire Syd, Roger, Rick and Nick? That’s what made the music of theera so memorable… groups and artists could no longer afford to stand on their laurels, they were continually pushed by others to up their game, to progress and change. For fifty years (and counting), that has been the lasting legacy of SERGEANT PEPPER’S… .
Captain Sensible in repose (with fLUSH issue 11), 2002 (photo credit: DARREN TRACY)
They shoulda been finished by 1980. In the DIY world of late ‘70s punk rock, which saw bands implode (or explode) sometimes within days or weeks of forming, the Damned were releasing their fourth album in 1980, what I consider to be their magnum opus, THE BLACK ALBUM. Of course, by 1980, the band had already split after the departure of guitarist and primary songwriter, Brian James following the release of their second full-length, MUSIC FOR PLEASURE; thankfully, the call of the stage (and a nice payday) brought the remaining band – vocalist Dave Vanian, drummer Rat Scabies and bassist-turned-guitarist Captain Sensible – back together, this time with drinking buddy Lemmy filling in on bass. By the time the sessions for THE BLACK ALBUM began, the group was already on to their fourth bassist, Paul Gray having supplanted former Saints bass player, Algy Ward. Over the years, twenty-five full-time or touring musicians have been a part of the legendary aggregation, with Vanian being the only constant; however, the band coalesced into a solid line-up with bassist Stu West joining Sensible, Vanian, keyboardist Monty Oxymoron and drummer Pinch in 2004.
And, so, forty years after releasing the first UK punk record, DAMNED DAMNED DAMNED, the band are back with a major tour underway and a new album in the offing. With a stop scheduled at the Delmar Hall in Saint Louis on April 21, I reached out to the responsible parties to check in with the band before the commencement of the North American leg of their tour. It was agreed that e-mailing some questions to Captain Sensible would be the best approach. This, then, is the result of that communication; other than a minor tweak here and there, Captain’s answers are left intact, exactly as he wrote them. No animals were harmed in the exchange. Well, maybe a couple, but… they deserved it!
DAMNED DAMNED DAMNED
THE MULE: You’re celebrating the fortieth anniversary of your debut album, DAMNED DAMNED DAMNED and forty years of a general wreaking of havoc with an extensive world tour. How has the tour been going and what can we expect when you hit the shores of North America for a two-month long jaunt?
CAPTAIN: The band gets on great; probably why it’s the longest lasting lineup in Damned history. But, the important thing is they play the material, particularly from the classic period, with real gusto. Stu and Pinch are a phenomenal rhythm section which allows Monty (an improv genius) and myself freedom to be playful with the songs… it’s never quite the same twice. Which is good, because love music shouldn’t be too predictable. I like an element of danger… I’ve always seen my role in the band to add a touch of chaos.
THE MULE: Of late, a lot of groups have been celebrating these types of anniversaries by playing the entire record live. Can we expect to hear those twelve songs played front to back or do you have other surprises in store?
CAPTAIN: We’ll be playing a special career spanning 40th anniversary set – with the Damned you’re getting three bands for the price of one – we were the first UK punk band, had a hand in creating the Goth scene and veer towards garage psych whenever the inclination takes us. The setlist can change mid gig, depending on the audience… and well timed heckling is encouraged. It’s all about the live experience – to hell with choreography and set routines – we like to live a little dangerous and just go with whatever happens.
From the punk material, I have to say my favourite is “Neat Neat Neat,” with its fabulous Eddie Cochran-esque riff. Perfect for a quick jam and eminently danceable. On the other hand, “Eloise” is simply epic… a theatrical, mad, desperate declaration of love for a “lady of the night,” These things happen… quite often, probably.
The Damned and friends, circa 1977 (Chrissie Hynde, Tommy Ramone, Rat Scabies, Captain Sensible, Dee Dee Ramone, Brian James, Joey Ramone, Johnny Ramone) (photo courtesy: CAPTAIN SENSIBLE)
THE MULE: The album was among a number of firsts for the band: You were the first punk band from the UK to release a single with “New Rose,” DAMNED DAMNED DAMNED was the first UK punk album and you were the first English punk group to tour the US. What do you remember from those first few months of the band and the explosion of punk that followed? There must be a great sense of pride in what you, Dave, Brian and Rat accomplished in such a short amount of time.
THE CAPTAIN: Brian put the original ad in a music mag looking for like minded musicians. He wanted a gang that played with aggression. You can hear the results on the first two albums… but, when he jumped ship in ‘78, it left the rest of us with a huge problem. None of us had any history of songwriting. Also, with me now on guitar, we needed a bassist.
We used to hang around in the pubs in Portobello Road, where Lemmy was a permanent feature – propping up some fruit machine or other. Apart from speed metal, that was his passion. He’d let us sleep on his floor if we missed the last bus home, and was a good chum.
We were broke and had been offered some money for a London Damned show if we could get some kind of lineup back together.
As ex-guitarist of the Johnny Moped band, I fancied a go at 6 strings again, so we called up our old mate Lemmy to play bass and knocked together a setlist of Damned and Motorhead favourites during a short boozy rehearsal. The reaction of the audience on the night of the performance was splendid so we arranged another show… and then another…. and then, someone suggested writing some new tunes.
Lemmy had a tour coming up, however, so we found ourselves having the difficult task of finding a bassist with equally uncompromising attitude and sound… and then someone mentioned this bloke they’d heard of that plays his bass with metal picks. His name was Algy, he demonstrated his thunderous technique and was immediately offered the job. Finally, the Damned was ready to record its psychedelic punk rock record… MGE (MACHINE GUN ETIQUETTE – Editor).
The Damned, circa 1976 (Captain Sensible, Dave Vanian) (photo credit: JOHN INGHAM)
THE MULE: I’m reading Steve Jones’ book, LONELY BOY. He kind of gives short shrift to the Pistols’ ANARCHY TOUR that the Damned were a part of. Do you have any memories – fond or otherwise – of that tour and the other bands on the bill?
CAPTAIN: Damned, Clash, Pistols and Johnny Thunders’ band got on great – more than could be said for the four managers who all wanted preeminence for their bunch. MacClaren put the package together cos his lot couldn’t sell tickets outside London… a situation which changed when Steve Jones swore on a teatime TV show. At that point, with Rotten and company on all the front pages the next day, the Damned were no longer required to fill venues so we were given the heave-ho.
I bump into Steve every now ‘n’ then, and put it to him recently that it doesn’t take a lot of skill to curse and swear on a TV programme – I could’ve quite easily done that myself. More than capable! His reply? “But you didn’t, Captain… WE did”
You have to laugh…
The Damned play the Galaxy in Saint Louis, 2002 (Captain Sensible; Dave Vanian) (photo credits: DARREN TRACY)
THE MULE: The Damned has certainly had their share of ups and downs, with members coming and going, breaking up and reforming, legal issues regarding the use of the name, signing with and leaving record companies. For you, what are the high points and low points in the band’s career?
CAPTAIN: High point was the reception of the first album. It caused a bit of a sensation and suddenly, we were on front pages… the record is manic and riff heavy – Nick Lowe did a great job of capturing the uncompromising nature of our 35 minute live set. This is the material the more recently arrived members of the band love to play and they totally nail it.
We had no idea the record would be popular… let alone talked about 40 years on.
We were just making the music we wanted to hear cos there was precious little around at the time that had any get up and go. Glam rock had packed the sequins and gone – all we had left was country, disco and prog.
But mainly, I was trying to change my own world cos for me, as a teenager with little education to boast of, I had a life of drudge ahead of me at best. Or a vagabond of some sort… I was already known to the law and things could have gone from bad to worse. I was dossing in a Brighton squat, surrounded by junkies and ne’er do wells – then punk rockshowed up and saved me. Every band needs a chaos factor… and I became the Damned’s random unpredictable nutcase. My dream job.
During rehearsals, I was sleeping on Brian’s floor; we spent our days traipsing around clubs attempting to blag support gigs – which paid peanuts so we were generally starving. When Stiff Records offered us a record deal, the promise of a visit to a Wimpy Bar was the clincher.
As for low points… Maybe the rows and punch ups? But all bands have them, I think… even the Mamas and the Papas.
THE MULE: A couple of fairly well known musicians produced the first two Damned albums. What are your thoughts on those first two records and the producers, the Nicks: Lowe and Mason?
CAPTAIN: Nick managed to capture the live sound of the band… it’s not “posh,” that’s for sure. If you play the record loud and close your eyes, you could be in London’s sleazy basement Roxy Club watching the band. It is pure punk – unlike some of our contemporaries, who polished and perfected their sound in an un-punk like manner, I thought.
Nick Mason stood in for Syd Barrett… our original choice. But we were getting Floyd’s studio for free, so couldn’t tell him to eff off.
The Damned’s Abbey Road moment (Stu West,Captain Sensible, Dave Vanian, Pinch, Monty Oxymoron) (photo courtesy: CAPTAIN SENSIBLE)
THE MULE: One of my all-time favorite albums and my favorite Damned album has always been THE BLACK ALBUM. What are your memories of writing and recording that record? How do you think it holds up 37 years later?
CAPTAIN: Somehow, the Damned had a role in kick-starting the punk AND Goth scenes – and moving into the ‘80s, I’d noticed Dave Vanian’s songwriting was moving into darker territory – which culminated in the appropriately titled …BLACK ALBUM. We were fascinated by the possibilities a little experimentation in the studio would give… It was a very creative time of Dave and myself having all night brainstorming sessions. The other guys would listen the next day, open-mouthed at the wild departure from the two minute thrashes we’d been famous for. These are the most fun songs to perform… but demand a lot of concentration.
THE MULE: It’s been nearly ten years since the last album of new material, SO, WHO’S PARANOID. I understand that you’re working on a new record. Can you tell us about the PledgeMusic page and when we’ll see the finished product? Do you have something unexpected up your collective sleeves? With the new record coming, your fans have to wonder: Where do the Damned go from here?
The Damned, 2016 (Captain Sensible, Pinch, Dave Vanian, Stu West, Monty Oxymoron) (uncredited photo)
CAPTAIN: The Buzzcocks guys told us about this PledgeMusic thing, which I’d no idea about – but when told it allowed us to make the album we wanted to make… without a record label bloke peering over your shoulder, I was there. So, we can pretty much do what we like – which in the ‘80s would’ve meant getting comprehensively sloshed and wrecking the studio and getting thrown out of a few along the way for those sort of capers. Probably not this time though, being considerably older… and marginally wiser.
Pinch, Stu and Monty are such great players though… they’re going to get a chance to flex their muscles musically. This is a band that can break out of a song structure and really jam it up.
Each album we’ve made sounds different from the last one – and this one will continue that trend. It’s fun to experiment, to be creative… take a few risks. The only shame is not releasing before the world tour, but to have boshed out a half finished album would be wrong. I have SERGEANT PEPPER… and PET SOUNDS in my record collection, played ‘em to death over the years and, unlikely as it sounds, always aspire to achieve those standards.
An album to celebrate forty glorious years of the Damned seemed a good idea. We don’t make many… it’s quality over quantity. We’ll go off on a tangent, as per usual, as we don’t care to repeat ourselves. It’s been a musical journey in the Damned. I love the experimenting in the studio… all night brainstorming sessions fueled by copious amounts of quality ale. That’s the way to do it – it’s gonna be fun!
There will be some surprises, but plenty of energy and melodic content, too. Oh, and some darkness, too.
The Pledge campaign was an instant success. Thanks, everyone! We are currently trawling through the best material we have and putting it through the Damned machine. Who knows how much longer this band can go on, so we are really going at it with a Big (Brother) eye on the quality. Rest assured, it will be as different as any album the band has ever made. Move on or croak!!! We want people to discover this record and be aurally challenged. Dave, in particular, has some really wacky ideas that he wants to put on here and we are all pretty excited that he is vibed up about it. We may have to tour with a full orchestra and dance troupe to realize it properly! Hahahahaaaaa.
THE MULE: You had a successful solo run in the early ’80s and you continue to release music outside of the band. Is there any news on that front? If so, what and when can we expect something?
CAPTAIN: I did an album with Paul Gray… A POSTCARD FROM BRITAIN, it’s called. It’s a concept piece which reflects our views on our home country… not all of them glowing!
THE MULE: Looking back on a forty-plus year career, where do you think the Damned places in the pantheon of rock music?
CAPTAIN: I really don’t care about any of that… it’s all been fantastic fun. And, a wonderful musical adventure. The Damned are outsiders – we don’t have celeb friends or go to swanky parties. We are the same as we’ve always been… just a bunch of…
The Damned play the Royal Albert Hall, May 20, 2016 (Captain Sensible, Dave Vanian) (Photo credit: DOD MORRISON PHOTOGRAPHY)
THE MULE: Thanks for taking the time to answer my questions. Look forward to seeing you in Saint Louis on April 21.
CAPTAIN: Cheers!!! I have to be real careful these days not to overdo it, as hangovers are gruesome when you get to this age. The getting carted about all over the place is tough on the system too – I always say I do the gigs for free… but I wanna get paid for all the traveling.
Having said that, there is a theory that you stay the same mental age as when you first join your band… to a certain extent I’ve not had the responsibilities and worries that normal people have, I’ve shifted a few records… but been bankrupt and everything in between, as well. To be honest the pursuit of money and fame means nothing to me… who needs a flashy car anyway – I’m happy to get around by train.
I’m a perennial juvenile delinquent… my hero is still Dennis the Menace. There’s more than a bit of him in my act.
Carlos relaxing in the Foam lounge (photo credit: DARREN TRACY)
I’ve been to Foam exactly twice now; the first time was for an interview with Beth Bombara and, now, for this show. Wray, the evening’s headliners (even though they eventually went on third of five acts), and I arrived at approximately the same time (6:00 PM), due to the venue’s web-site giving the start time as 8:00 PM (or, 8:30 per the Facebook page for ACID KAT ‘ZINE). Around about 10, the sound guy/bartender told someone that it was probably time to start the show; fifteen minutes later, rapper/performance artist (and AK’Z contributor) Tubby Tom began a bizarre set that we’ll discuss shortly. Foam is a very cool place, with a great vibe, friendly staff and really good coffee but, if this is a standard occurrence, they’ve really got to rein in these acts (especially the locals) and keep things tight, on schedule and moving along. So, anyway, having arrived early, I had the pleasure of hanging out with a young Hip-Hop artist named Carlos (see above photo). It’s really cool to see someone so passionate about music… not only his own work, but just music in general; I mean, that’s why I started writing more than twenty years ago… a passion for music. Carlos may or may not have what it takes to get to the next level or to be a huge star but, I certainly heard enough to tell you that I am looking forward to seeing and hearing more from this young man somewhere down the line.
Tubby Tom (photo credits: DARREN TRACY)
Performing a patently odd style of Hip-Hop over old Disco, Soul and pop records, avant-garde rapper Tubby Tom’s set seemed to be,,, uh,,, divisive. The material proved to be particularly well received by a small contingency of female revelers, while a smaller contingency of patrons merely decided to visit the rest rooms of to step outside for a smoke. Most of the tunes were kinda dorky little ditties about lust, love found and love lost. However, the very short set ended with a very compelling piece; the tale of kidnap, abuse and eventual escape was as urgent and claustrophobic as the scenario implies. By any musical standards, the song, with a distinct Gothic horror feel, was a brilliant use of lyrical imagery and a stifling musical bed to add to the emotional chaos. I gotta admit, I was rather ambivalent about most of Tubby Tom’s set… that final, extended dose of weird definitely upped my estimation of the man’s talents. I have no idea if any of this material is available in any recorded form (or if they are merely spur-of-the-moment fever dreams) but, if they are, they’re well worth checking out.
Those Jerks (Tornado Tommy and Terrible Tony; Nasty Jordan; Terrible Tony) (photo credits: DARREN TRACY)
According to advance promotions, Freeburg Illinois noisemongers Dem Scientist was scheduled to play their final show as part of this bill; I have no idea what happened but, they were replaced by an apparently thrown-together three-piece who, when I asked their name after the show, decided that Those Jerks worked as well as any… after much Stooges-like (of the Moe, Larry and Curly variety, not the Iggy and the… type) debate. The band also came up with the rather descriptive personal sobriquets of Nasty Jordan, Tornado Tommy and Terrible Tony. Given the tight confines of the Foam stage, the guys set up on the dance floor, with drummer Tommy facing the stage and the others, hanging close to the stage, facing each other. Their music – a combination of barely formed originals and impossibly obscure covers – was a rambling, shambolic skree of fast and loose old school punk; in short, Those Jerks’ set was the virtual epitome of dumb, stupid fun. And, we all know that there just ain’t near enough of that sorta thing in the world today.
Wray (David Brown; Blake Wimberly; David Swatzell) (photo credits: DARREN TRACY)
Unbeknownst to me (and, probably, the listening public at large), there is a burgeoning experimental music enclave in the unlikeliest of places: Birmingham, Alabama. Sure, I’d heard of (and listened to) Through the Sparks, Wray and, of course, Communicating Vessels (the label home of both) founder Jeffrey Cain’s group, Remy Zero (not from Birmingham, by the way, but the connection is valid), but… you really don’t envision this type of Eurocentric music to come out of Alabama. Wray plays an unrepentantly jangly, gauzy type of shoegazing elegantia, with throbbing bass, powerful drums, layered, effects-laden guitar and, hovering above it all, wispy, nearly whispered vocals; with a visual presentation (actually, a series of images and visual stimuli created – or chosen – by the band to augment each song) that is as mind-bendingly beautiful as the music, their show is a multimedia tour de force. Bassist and primary lyricist David Brown handled most of the vocals, while guitarist David Swatzell was content to build soaring layers of sonic Nirvana, adding the occasional backing vocal or a short, atmospheric lead with a voice as ethereal as Brown’s. Blake Wimberly followed where the music led, sometimes diverging from any type of standard time-keeping percussion but always bringing his playing back around to the rhythmic thread, all of which contributed to the hypnotic vibe of the song (most of which were from of the band’s latest release, HYPATIA). A highlight of the set was the group’s subtle, amazing cover of Faust’s Krautrock classic, “Jennifer.” Unfortunately, with the late start, rearranged order and other variables, Wray’s set was woefully short (somewhere around thirty minutes), but, without question, the highlight of the evening.
Soda Boys (Austin Nitsua; Jordy Shearer; Austin Nitsua) (photo credits: DARREN TRACY)
Like Those Jerks, Soda Boys play fast and loud; it’s punk, if tinged with a defiant dose of pop and a distinct Saint Louis flavor. Local scenester and founder of ACID KAT ‘ZINE, Austin Nitsua, is the band’s guiding light, a genial spaz in a Steak ‘n’ Shake paper hat, shouting lyrics over bass-heavy tunes like “Creamy Soda,” “Burgers and Fries” and the coulda-been-a-hit-in-another-era “Soda Girl.” These Boys (especially Nitsua) ran, jumped and rolled around the floor in a punk rock frenzy, obviously enjoying their set as much as the dwindling audience. Unfortunately, the only other band member I was able to identify was drummer Jordy Shearer, who somewhat reminded me of the late, great Tommy Erdelyi, the original skin-beater of the Ramones; as with Shearer, the unidentified guitarist and bassist more than held their own, but this show was unquestionably all about their charismatic (enigmatic?) singer, Austin Nitsua.
The Cowboys (Zackery Worcel; Jordan Tarantino; Mark McWhirter) (photo credits: DARREN TRACY)
The Cowboys, from Bloomington Indiana, may have been the closest thing to a rock band playing on this Saturday.Their music is equal parts hard rock, psychedelia, punk rock and echo-drenched Rockabilly, delivered with an alcohol-fueled zeal. Celebrating the release of a compilation of the best material from their three cassette-only releases, the group – led by main songwriter and vocalist Keith Harman – charged through a set of tunes that included “Thumbs,” the trippy, late ’60s psychedelic groove of “Aqua Marine Love Machine” and the loopy hillbilly punk of “Cool Beans and Godspeed,” which featured some cool effects from guitarist Mark McWhirter. McWhirter proved himself adept at a variety of styles, including the riff-filled Buddy Holly inspired “Cindy Lou” and a fuzzy, screeching solo on “Creature of the Deep.” The rhythm section of Zackery Worcel on bass (and backing vocals) and drummer Jordan Tarantino were suitably sloppy while somehow managing to stay in the pocket throughout the night. Yeah, the night started off in a somewhat suspect manner, but the folks who stayed around for the finish were treated to a fun – if occasionally disjointed – evening of musical diversity.
What a wonderful, bizarre night this was. Reverend Horton Heat have always been one of my favorite live acts; I vaguely remember seeing Nashville Pussy somewhere about fifteen years ago… they didn’t do a lot for me but, well, things change; for me, there were two wild cards: the enigmatic Unknown Hinson, who did a short set toward the end of the Reverend’s show, and the goofball antics of Igor and the Red Elvises. Let’s start things off – as we always do – at the beginning with…
Igor and the Red Elvises (Natalie John; Igor Yuzov; Dregas Smith) (photo credits: DARREN TRACY)
The wild and wonderful women who make up the current incarnation of the Red Elvises (shouldn’t that be “Red Elvi?” Just wondering) and their Commissar of Jocularity, Igor Yuzov. With shaking hips and thrusting pelvis eliciting visions very much like that of a certain ’50s teen idol, sporting a head of “Elvoid”-based follicles and dressed in what can only be described as a lame’ jungle print zoot suit, the larger-than-life singer exhorted (extorted?) the crowd to sing along, clap along, dance along, surf along and pretty much any other “along” he could think of as he built a set from the ground up, randomly calling out – Zappa-style – the next tune. At one point, he even cajoled a good portion of the audience to “spontaneously” erupt into a shimmying, snaking conga line. Is there any wonder why this rockin’ teenage combo is “your favorite band?”
Igor and the Red Elvises (Dejah Sandoval; Igor Yuzov; Jasmin Guevara) (photo credits: DARREN TRACY)
Well, yeah… all of that over-the-top lunacy is as cool as it sounds, but this band is so much more: Musically, Igor and his ever-revolving, evolving group of Elvises play a hip, retro brand of Rockabilly and early rock ‘n’ roll, laced with enough updated alternative grooves to keep even the most jaded of youngsters’ heads bobbing and butts shaking; the band, especially the rhythm section of Dejah Sandoval and Jasmin Guevara (on bass and drums, respectively), are first rate musicians and, obviously, are having just as much fun as Igor and the fans. Aside from her bass-playing abilities, Sandoval proved improbably adept at remaining upright while sporting stacked boots that would give Gene Simmons a nosebleed, while Guevara was virtually a perpetual motion machine, bobbing and shaking her head like Ringo and pounding her kit like a miniature Bonzo. Keyboard player Dregas Smith showed herself capable of laying down a wicked boogie woogie piano one minute, a fuzzy, grungy garage Farfisa the next; as Igor – more often than not – neglected his guitar, Natalie John took up some of the slack on trumpet and various horned instruments, as well as the occasional funky solo. When Igor did play his chosen instrument, he mixed James Burton-style Rockabilly with Dick Dale or Link Wray-like tremolo-laced Surf guitar. The fact that he sounded like Boris Badanov fronting a band of KGB operatives only added to the man’s charm and mystique on songs like “Closet Disco Dancer,” “Surfing In Siberia,” “I Wanna See You Bellydance” and “She Works For KGB.” The aforementioned conga line took shape at the beginning of “Sad Cowboy Song,” which also featured an incredible (as in, not boring) drum solo from Jasmin; the solo actually started with the other three ladies surrounding the kit and joining in on the percussive fun. I could probably write a novella filled with superlatives about Igor and the Red Elvises, but then I would never get to the rest of the show. Suffice to say that a Red Elvises show is pretty much like watching Frank Zappa’s Mothers eat Madness and then throw up Link Wray; that’s kinda my way of saying that a good time was had by all.
Nashville Pussy, the hard-rocking, four-headed Blues beast may seem – on the surface, at least – an odd choice as tour-mates for the Heat boys, but they’ve been traveling the highways and by-ways together for nearly twenty years. If you’re not familiar with this outfit, they play a drug-fueled, beer-soaked Southern boogie… kinda like early Lynyrd Skynyrd laced with liberal doses of Motorhead, as well as a little bit of Hank, Senior. Up top, I mentioned that the only other time I saw them live, Nashville Pussy really didn’t trip my trigger; a few months back, I saw vocalist Blaine Cartwright play an acoustic set two doors down, at the Demo. Cartwright mentioned that he’d been working on his vocals and, obviously, in that stripped down environment, the melodies and the wickedly funny (and equally perceptive) lyrics weren’t so easily lost in the sheer decibels of a Pussy show and, guess what… somewhere in between that show and this one, I went back and listened to last year’s TEN YEARS OF PUSSY compilation and, well, I like ’em… I really like ’em! And, for the record, Blaine’s vocals ARE stronger and clearer than ever, kinda like Uncle Ted or Alice gargling with the ashes of Wolfman Jack and Bon Scott. In fact, with the addition of bassist Bonnie Buitrago a few years back (and, just maybe, the seasoning that comes from almost constant touring), the band has definitely taken on a more cohesive sound since I first saw them, lo, those many years ago.
Nashville Pussy (Blaine Cartwright; Blaine and Ruyter; Ruyter Suys) (photo credits: DARREN TRACY)
Though the band has, indeed, coalesced into a well-oiled machine, the songs maintain their inherently lewd and rude lyrical bent, while each of the four musicians appear ready to go into the crowd for a bit of a throw down at the drop of a black cowboy hat (or, at the very least, to go into the crowd to throw back a drink or two with their rabid fans). Buitrago and drummer Jeremy Thompson laid down a thunderous rumble over which Cartwright and his wife, Ruyter Suys, worked their six-string magic. Don’t think that because Blaine has concentrated on improving his vocals that he’s neglected his guitar playing… he hasn’t; true, Ruyter still does most of the lead work and soloing in her inimitable style, but I believe that Cartwright’s newfound confidence in his voice has allowed him to just let go on guitar. An example of both appeared in the unexpected form of a cover of the classic Marshall Tucker Band ballad, “Can’t You See.” Don’t think for a second, however, that that means this group has mellowed… they are still as cantankerous and debaucherous as ever; classics like “Pillbilly Blues,” “Struttin’ Cock,” “Hate and Whiskey,” “Rub It To Death” and the ever genteel “Go Motherfucker Go” tells you that this is a buncha folks that would’ve made Caligula blush. Well, most of ’em, anyway; it was kinda funny watching Ruyter, Blaine and Bonnie sweating and thrashing and knocking back shots (or, more often, taking a slug straight from a bottle of Jack) while Jeremy just goes about his job with as little exertion as possible, but still – somehow – managing to sound like two drummers. While Suys’ guitar seemed to occasionally fall out of tune as she throttled the the neck, abused the trings and writhed about the stage, it just didn’t matter; what did matter and what came across from the time Nashville Pussy took the stage was the passion that these people (and their ravenous fans) have for the MUSIC. In a world where electronic beats and auto-tuned voices are becoming the norm, it is refreshing to hear real music played by a band that isn’t afraid to mess up from time to time.
Reverend Horton Heat (Jim Heath) (photo credits: DARREN TRACY)
For over thirty years, guitarist Jim Heath has fronted the band Reverend Horton Heat… to most of his fans, he IS the right Reverend Heat. The band’s sound (a melding of Western Swing, Rockabilly, Rhythm and Blues, Surf Music, and pretty much any other genre that they can work into the stew) really began to come together when bassist Jimbo Wallace came onboard in 1989; many, including Heath himself, consider Jimbo to be the heart and soul of the group. Spanning two different tours of duty, Scott Churilla is the trio’s longest-tenured drummer, having served from 1994 to 2006 and coming back into the fold in 2012. As you can imagine, these guys have become a well oiled live machine and, this show was certainly no different. Proving their staying power – and the continued popularity of their music – the band ripped into the fairly straight-forward Surf instrumental “Big Sky” coupled with the wild hillbilly honk of “Baddest of the Bad,” both from 1994’s breakthrough album LIQUOR IN THE FRONT, before sending the sold-out crowd into a feeding frenzy with “Psychobilly Freakout,” a fan favorite from their debut album, SMOKE ‘EM IF YOU GOT ‘EM.
Reverend Horton Heat (Jimbo Wallace; Jim Heath; Jimbo Wallace) (photo credits: DARREN TRACY)
From there, the boys dipped into the earliest years of Rockabilly with “School of Rock ‘n’ Roll,” a 1958 single from fellow Texans Gene Summers and His Rebels; not only are these guys celebrating their own history, but they continue to celebrate their roots, as well as turning their fans on to music they may not have otherwise heard. In most instances, an upright tends to get lost in the mix… not Jimbo‘s;he prompted pops and thrums out of his instrument like no other could. Scott’s excellent stickwork proved why Jim and Jimbo brought him back into the fold after six years away; many of the Reverend’s best albums feature Churilla mounted on the throne (actually, he plays on all but the first three albums and 2009’s LAUGHIN’ AND CRYIN’ WITH THE REVEREND HORTON HEAT). And, of course, what can you say about Jim Heath? He’s never been a flashy guitarist, but he makes what he does seem so easy; it’s the same with his vocals… rock solid from start to finish. With his eyes in perpetual squint-mode (lights, I would guess) and his face either wearing an all-knowing, world-weary smirk or a mile-wide smile, Heath is one of the most unassuming rockers you’ll ever see. The set list looked like the back of a “Best of… ” album, with such fan-pleasing entries as “I Can’t Surf,” “Bales of Cocaine,” the hard-driving Psychobilly paean to Mister Wallace, “Jimbo Song,” as well as Chuck and Johnnie’s “Little Queenie.” Toss in the instant-classic “Zombie Dumb” from the group’s most recent release (2014’s REV) and a few moreselections from an impressive catalog and you’ve got a rock ‘n’ roll show to remember. However, the boys were just getting started and… we hadn’t even seen their special guest yet!
Reverend Horton Heat (Unknown Hinson; Jim Heath; Unknown Hinson) (photo credits: DARREN TRACY)
As the houselights came back up after “It’s a Dark Day,” Heath had this to say by way of introduction about Unknown Hinson (the special guest, if you haven’t been following along), “This man scares me to death. Not only because of all that vampire shit, but because of the way he plays guitar… he’s better than any of us could ever hope to be.” Sporting the suit he was buried in (I’m not positive, but I’d bet it cinched in the back) and a pompadour from Hell, the vampiric Hinson lumbered to center stage, still wearing the black gloves so important to his evening wear as he sates his murderous predilection; he removed the gloves only to pick up his guitar. Like the music of the Heat lads, Hinson is sorta all over the place: Everything from surfin’ Gothic Country to metallic hillbilly punk. Hinson’s wide palette included hardcore Western swing, Carl Perkins-style Rockabilly, fuzzed-out slabs of pure psychedelia, old-school Rhythm and Blues and his own twisted take on Southern honk; if you close your eyes just the right kind of tight, you’d swear it was Early Cuyler hisself serenading you. Unknown’s short set-within-a-set included the misogynistic “Silver Platter,” as well as such delicately titled little ditties as “I Ain’t Afraid of Your Husband,” “Fish Camp Woman” and “Your Man Is Gay.” Hinson proved to be as good advertised on guitar, moving from Heavy Metal power chords and manic Country pickin’ to mind-expanding psychedelic soloing and mournful Blues licks. The whole thing was rather like what would happen if the legendary George Jones were to hook up with Brian Warner at a Satanic mixer hosted by the ghosts of Jimi Hendrix, Frank Zappa and Minnie Pearl… in short, everything a true music lover hopes for in a live experience.
Reverend Horton Heat (Scott Churilla; Jim Heath; Scott Churilla) (photo credits: DARREN TRACY)
As Hinson exited the stage, Jimbo, Scott and Jim charged into the salacious “Let Me Teach You How To Eat” and its thinly veiled lyrical innuendo. One of Heath’s earliest (from THE FULL-CUSTOM GOSPEL SOUNDS OF THE REVEREND HORTON HEAT, released in 1993), heaviest and funniest tunes, “400 Bucks,” led into a sort of gear-head finale, with the divorce settlement classic “Galaxy 500” and the Surfabilly couplet about fast cars and faster women, “Victory Lap” and “Smell of Gasoline,” the latterfeaturing solos from both Scott and Jimbo. The encore brought Unknown Hinson back to the stage for an extended jam on “The King of the Country Western Troubadours,” including a very Trower-esque solo from Unknown. I’ve seen Reverend Horton Heat several times since 1996 or so and they just keep getting better; throwing Hinson into the mix just upped their game even more. I can’t wait to see what they bring next year… I know it’ll be killer.
Walking to the Demo before this show, I ran into my young friends from the recent Koa show. First Koa, now All Them Witches… maybe – just maybe – there is hope for us as a civilization; I asked these young men and ladies if they shouldn’t be listening to the Bieb or One Direction or Kanye and was heartened by their answer: “Who? That’s not music.” A tear of happiness rolled down my cheek. So, we know that the kids’ allegiance to Koa is well-earned but, will All Them Witches live up to expectations? We’ll answer that question shortly but, first…
Ranch Ghost (Joshua Meadors; Matt Sharer; Andy Ferro) (photo credits: DARREN TRACY)
Opening the show were All Them Witches’ Nashville neighbors and kindred spirits, the not-spooky-at-all (well, hardly-even-spooky) Ranch Ghost. The four-piece – augmented by a keyboardist for this show – offered up a rich rock stew, cooked up in a Nashville garage, with ample amounts of Surf and psychedelic flavoring, alongside a pinch of Folk and Country for extra seasoning. Joshua Meadors’ high, nasally voice (think Jello Biafra or Johnny Thunders or, perhaps, a more apt comparison would be Hank, Senior) lent itself well to the reverb-drenched chaos, while he and fellow guitarist Andy Ferro reveled in their Dick Dale/Link Wray sonic blasts. Matt Sharer’s bass, Tanner Lunn’s drums and Mitch Jones’ “atmospherics” added a perfect sludgyiness to Ranch Ghost classics like “Nahla” and “New News,” as well as tunes from the band’s forthcoming Rough Beast album. More than a simple chameleon-like morphing of musical styles from song to song, each tune’s genre-bending sound was an amalgam of the last hundred years of popular music, creating something that is wholly… Ranch Ghost. Even the physical appearance of these Ghosts seemed to hit on some well-known stylistic pop reference points: Ferro’s facial hair and wool cap put me in mind of Cheech Marin, with Sharer filling in for the larger-than-life beard of Tommy Chong; Meadors’ blonde mane and the music’s heavy Surf vibe virtually screamed (to no one but me, I’m sure) “Al Jardine,” one of the original Beach Boys. Just to bring this line of observation full circle, Lunn reminded me of actor Jason Mewes (the “Jay” half of “ …and Silent Bob”), while Jones could be the younger brother of actor/musician Billy Mumy (LOST IN SPACE, Barnes and Barnes). As random as those comparisons are, the music of Ranch Ghost is just as random… hard to pin down, but definitely something worth checking out.
All Them Witches (Michael Parks, Junior; Robby Staebler; Ben McLeod) (photo credits: DARREN TRACY)
While Ranch Ghost sort of dumps everything into a giant blender to get their musical point across, All Them Witches sticks pretty close to a Psychedelic Blues, played in a heavier-than-gravity style that evokes Hawkwindian space jams alongside the acoustic-metal slam of Jimmy Page’s New Yardbirds (check your history books if that one baffles you, children). Kicking the set off with “Call Me Star,” the opening track from their excellent new record, DYING SURFER MEETS HIS MAKER, the quartet quickly makes known their musical manifesto; the tune charges into a mesmeric approximation of “El Centro,” an extended instrumental jam that also features on DYING SURFER… that rather put me in mind of “No Quarter” from HOUSES OF THE HOLY. Frontman Michael Parks, Junior’s voice seemed more an ethereal entity unto itself, adding an other-worldly quality to the already dense instrumental wall-of-sound, a wall constructed by guitarist Ben McLeod, keyboardist Allan Van Cleave, drummer Robby Staebler and Parks’ bass. The fact that these four young men are capable of delivering such a massive sound in a seemingly effortless fashion belies the complexities of the arrangements and the music itself; it’s almost like watching the early ’70s version of the Mothers of Invention performing “My Bonnie” or some other rudimentary campfire song… child’s play.
All Them Witches (Ben McLeod; Allan Van Cleave; Ben McLeod, Michael Parks, Junior, Robby Staebler) (photo credits: DARREN TRACY)
The set was nearly equally divided between newer material and stuff from 2013‘s LIGHTNING AT THE DOOR, with each song melting into the next, forming what could best be described as a sort of Native American suite. Following the hypnotic swirl of “Open Passageways” and an extended jam on the instrumental, “Welcome To the Caveman Future,” the next six numbers were from the earlier album, beginning with a shamanistic, Doors-like “Death of Coyote Woman,” which featured a raging solo from McLeod. At times, Van Cleave’s Fender Rhodes sliced through the atmospheric desert grooves (as on the monolithic “Mountain”), at others, his electric piano added a perfect texture (especially on bluesy numbers like “Marriage of Coyote Woman”). The rhythm section delivered their parts with a devastatingly brutal precision that added to the roiling mysticism throughout, but the throbbing, tribal pulse laid down by Parks and Staebler on “Talisman” was a thing of dark and disturbing beauty. How many times has professional wrestling promoter Billy Corgan declared guitar-driven rock “dead?” Well, it would seem that bands like All Them Witches are here to prove you wrong, Billy… given the amount (and diversity) of new rock and roll spewing forth from the Country Music Capital of the World, it would seem that the medium is alive and getting better every day. For a taste of All Them Witches live, check out their album, AT THE GARAGE, or, better yet, catch ’em on tour at a venue near you.