From The Archives: Guilty Pleasures

The Secret Museum:
Jim Webb & Michael Mooney

Musical snobbery has its unhealthy roots in popular culture. If enough people love (and buy) a particular song, then the elitist saying goes, “it must be crap.” There are exceptions to the rule because sometimes quality songs just can't be denied. Roger Miller's 1964 smash King of The Road comes to mind, as well as The Beach Boys' Good Vibrations, but those are just two examples from the Golden Era of Pop. Don't tell me about all the great singles from The Beatles, British Invasion or Motown, because the Sixties was the time before Big Business got a real stranglehold on the music. Popular Music went downhill fast in terms of quality starting in the 1970's, when calculated fluff took over the airwaves and your local radio DJ become a puppet to corporate profiteers. The 70s saw the rise of Barry Manilow's super-schmaltz formula, The Bee Gees hollow disco, and Olivia Newton-John's plastic world of joy. The 80s were just as bad with Hall & Oates, Billy Joel and the impossibly sappy Air Supply. If you add Mariah Carey to this list representing the 90's, you would have a great set of mega-selling "artists" who collectively haven't received a good review in forty years. The music executives of corporate America have been fleecing you and your loved ones out of hard earned money for a long time now. They have it down to a science including focus groups telling them what kind of music to sell, with demographic trends and promotional budgets targeting the weak and easily duped.

I have also been led astray by the greedy Music Moguls who live in high story condominium castles. The narcotic-like trap they set with music is a powerful one and sometimes you just can't get out of its grip. Phil Collins has sold over 150 million records in his solo career, and his brand of aural voodoo has proven to be an especially strong spell to break. The cover songs he has scored with include homogenized versions of Groovy Kind of Love and You Can't Hurry Love, both from the 60's. Against All Odds (Take A Look At Me Now) is a typical emotional plea that ruled the charts in 1984 for 16 weeks. And let's not forget Easy Lover (no Pulitzer here for lyrics), or the great Sussudio. Phil's music to me is like a large Sonic Oreo Blast with whipped cream. You know it's not good for you, but you still got to have it occasionally. Yes, a founding member of The Secret Museum - an organization that is committed to uncovering the underrated and overlooked lost classics of music- listens to Phil Collins. Don't tell anyone.
-Jim Webb


While I tend to agree with your thoughts regarding musical snobbery, I have never been guilty of reacting to a piece of music based on its potential to reach (or avoid) the Top Twenty. My criteria are determined by how I respond intellectually and/or emotionally to the song itself. I know that I am simply not going to like much of what appears in the pop charts, though there have been unaccountable deviations. For example, Vanessa Williams' Save The Best For Last was Number One for five weeks in 1992. I love that song, and know I shouldn't: it's a banal topic- boy realizes girl was the one for him all along, she compares it to meteorological/astronomical phenomena- and lyrically very Moon/June (in a good way, and the writers were aware of it) but containing a degree of intelligence- probably Wendy Waldman's- that places it a notch above your standard modern ballad (N.B.- one of the guys involved in this also had a hand in Crazy For You, one of two or three Madonna songs I can almost stomach). These lyrics mean nothing to me. The appeal must be, and is, the music (it's catchy) and vocal performance- just like Crazy for You, only more so here- and though I believe that just about anyone could have made this song a hit, Williams does a tremendous job of not going over the top with it, and at the same time projecting a sense of wonderment that other Pop Divas of the day- Celine, Mariah, Madonna, Amy Grant?- would be incapable of pulling off. My emotions recognize this as melodic and well-crafted early-90s radio fodder. Intellectually, my response to Save The Best For Last is that Vanessa Williams works restrained magic on an above-average obvious Hit and turns it into Art. But if this song had only reached number 84 in the Billboard singles chart that year, I would probably never had heard it.

One guilty pleasure I'll admit to is Sleeper, a musically and conceptually lazy (their lyrics were okay, though) U.K. rock group from the 1990s, one of many also-rans of the Britpop era. There's absolutely no reason I should REALLY like them any more than, say, Pulp or Elastica or The Boo Radleys or (even) Blur (whom I don't like much at all), or any of the dozens of others who waved the banner of 'Cool Britannia'. My guilt here derives not from any sense of embarrassment for admiring music such as this, but only because I can't figure out why I do. Maybe it's something about needing to have favorites in every conceivable category, like why are The Misunderstood my favorite 60s California Psychedelic band who didn't hail from L.A. or the Bay Area? Or why is Brigitte Bardot my favorite Ye-Ye girl, when she isn't a Ye-Ye girl at all? Or why The Big Boys but not The Dicks? Or Steve & Eydie but not Nino & April? The Vogues but not The Lettermen? Why is Turn Down Day my favorite summer song of 1966, and not Summer In The City? Or Summer Wind? Or Sunny Afternoon? Or Sunny? See You In September? You've got to pick something, and so, for 60s/New Wave-inspired, guitar-based, tuneful English Rock created between 1994 and 1997, I choose Sleeper.

Now, about Phil Collins: apart from breaking up with his second wife via fax (so what if he didn't; he's capable of it), your comments reminded me of this memorable monologue from American Psycho's Patrick Bateman:

Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in Rock. Christy, get down on your knees so Sabrina can... Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. Sabrina, don't just stare at it... But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.

So you can see, Jim, where this might be cause for concern.
-Michael Mooney

P.S. From the same film (nothing to do with Phil, but I still think it's funny):

Patrick Bateman: Do you like Huey Lewis and the News?

Paul Allen: They're OK.

Patrick Bateman: Their early work was a little too new wave for my tastes, but when Sports came out in '83, I think they really came into their own, commercial and artistically. The whole album has a clear, crisp sound, and a new sheen of consummate professionalism that really gives the songs a big boost. He's been compared to Elvis Costello, but I think Huey has a far much more bitter, cynical sense of humor.

Paul Allen: Hey Halberstram.

Patrick Bateman: Yes, Allen?

Paul Allen: Why are their copies of the style section all over the place, d-do you have a dog? A little chow or something?

Patrick Bateman: No, Allen.

Paul Allen: Is that a raincoat?

Patrick Bateman: Yes it is! In '87, Huey released this, Fore, their most accomplished album. I think their undisputed masterpiece is "Hip to be Square", a song so catchy, most people probably don't listen to the lyrics. But they should, because it's not just about the pleasures of conformity, and the importance of trends, it's also a personal statement about the band itself.
[raises ax above head]

Patrick Bateman: Hey Paul!

Phil Collins 80s LP discography:
Face Value (1981)
Hello, I Must Be Going (1982)
No Jacket Required (1985)
But Seriously (1989)

Sleeper LPs:
Smart (1995)
The It Girl (1996)
Pleased To Meet You (1997)

Vanessa Williams:
The Comfort Zone (LP 1991)
Save The Best For Last (single 1992)

From The Archives: Concept Albums

The Secret Museum

November 02, 2008

"This world is big and wild and half insane
Take me where real animals are playing
Just a dirty old shack
Where the hound dogs bark
That we called our home
I want to be back there
Among the cats and dogs
And the pigs and the goats
On animal farm
My animal home
On animal farm
My animal home

While I lay my head upon my pillow
Little girl, come play beneath my window
Though she’s far from home
She is free from harm
And she need not fear
She is by my side
And the sky is wide
So let the sun shine bright
On animal farm
My animal home
On animal farm
My animal home

Girl, its a hard, hard world, if it gets you down
Dreams often fade and die in a bad, bad world
I’ll take you where real animals are playing
And people are real people not just playing
It’s a quiet, quiet life
By a dirty old shack
That we called our home
I want to be back there
Among the cats and dogs
And the pigs and the goats
On animal farm
My animal home
On animal farm
My animal home
On animal farm"

THAT IS FUCKING SONG WRITING
-Jim Webb

Hey! That's where I live! It's also a song from one of my Top Ten Concept Albums of all-time (yours, too, I'll bet.)
-Michael Mooney

The Top Ten Concept LP’S of All Time

1.) Jesus Christ Superstar / 1970
Music – Andre Lloyd Webber
Lyrics – Tim Rice
A Rock Opera that has Jesus of Nazareth, Judas Iscariot, and King Herod, among others, brought into the 20th Century medium of Rock and Roll. Controversial in it’s approach that Jesus was “just a man.” Tim Rice’s lyrics bind this narrative together with such clarity and force that you’d think he’d located a Lost Scroll as a guide to chronicle the true story of Jesus’ last days. What’s the Buzz and Yvonne Elliman singing I Don’t Know How to Love Him are just two of the many standout tracks on what was originally a double LP release. Great songs, coherent story line, well recorded: a masterpiece in concept and execution (no pun intended.)
“ One thing to say for him, Jesus is cool.” – Caiaphus the High Priest

2.) The Who – Quadrophenia / 1973
A turbulent look at a week in the life of Jimmy the Mod, a U.K. teen circa 1964. While we Yankees may not totally understand the Mod vs. Rocker battles in mid 60’s England, the themes of despair, loneliness, and redemption are universal to any time period. Love Reign O’er Me is arguably Townshend and Daltrey’s finest effort ever. The Punk Meets the Godfather, The Real Me, and 5:15 are songs that show The Who flexing their muscles in the streets of Brighton, ready to take on all Rockers. Is Quadrophenia better than Tommy? I think it’s coming of age adolescent story is one which I can relate to more. The great thing about Quadrophenia is that the music will move you, even if the story line doesn’t. Don’t miss the film version, either.

3.) The Who – Tommy / 1969
Rightly praised as an instant classic, Pete Townshend reaches high and (mostly) delivers on the amazing journey of a deaf, dumb and blind boy “Tommy” Walker. The Beatles had taken small steps in turning Pop Music into certifiable Art with Rubber Soul and Revolver. Sgt. Pepper was a big advance, using recording technology to enhance the listening experience, and The LP suddenly was no longer a couple of hit singles with a lot of filler. Tommy was a giant leap forward in taking a complex story line and weaving a musical tale around it. Pete seemed to expound on and slightly alter what the story really meant through the years, but the spiritual essence never changed. This is Townshend’s baby as much as Mrs. Walker’s.

4.) The Pretty Things – S.F. Sorrow / 1969
Recording started in the summer of 1967 and was finished the following year. The delay in actually releasing the LP until 1969 was a huge factor in it’s getting lost in Tommy’s supernova explosion. The story of Sebastian Sorrow was (supposedly) heard by Pete Townshend. He in turn was influenced by the idea of using a conceptual theme for an entire album. Phil May and band deserve high praise for some excellent tunes like S.F. Sorrow is Born, She Says Good Morning and Balloon Burning. The overall song quality is high, but there are no classics to propel it into the stratosphere. FM radio didn’t grab onto it and make S.F. Sorrow a listening staple, unlike its more famous cousin Tommy. Maybe this should be number one for it’s importance as the first Rock story album. Sebastian will forgive me for putting this in the number four slot.

5.) The Kinks – Arthur / 1969
Ray Davies is a great songwriter who almost seemed destined to meld his keen eye for the workingman with his love of traditional Britain into themed stories. A tale about his sister and brother-in-law’s move to Australia, the poignant songs, celebrating the lost British Empire and its people’s simple lives, are extraordinary. Victoria and Shangri-la are two of Davies’ finest tunes in a career that has literally scores of them to choose from. Hard rocking tracks (like Brainwashed) compete with emotional remembrances of personal sacrifice (Some Mother’s Son) to create a varied and rich narrative that will have you brewing a pot of tea while wishing you had a Union Jack wrapped around your shoulders, as you listen to this beautiful creation.

6.) The Kinks – Village Green Preservation Society / 1968
A collection of songs whose central theme is loosely based on the life and people of a small English village, meanwhile showing how quickly the world has changed (mostly for the worse): this is possibly the best collection of songs of any concept LP in my top ten. Tracks like Animal Farm, Picture Book, Big Sky and The Village Green Preservation Society are all gems in their own right. The only thing holding back this effort from a higher position is that there is not a hard connecting story to these songs- some were written independently of each other, and later grouped together due to their neighborly connection to Old England and the everyday people who made it great- a small quibble about a wonderful basket of tunes that never grows old.

7.) Jethro Tull – Thick As A Brick / 1972
One song (43 minutes long) that was written as a send up of all concept albums: Ian Anderson was exasperated by all the critics who bashed Tull’s previous release Aqualung for being too highbrow and conceptual for a rock band. He vowed to give them a pompous themed concept LP that they would really dislike. Somehow, Thick As A Brick found its way to number 1 in the U.S. charts. The most prog-rock sounding of all Tull albums up to that time, the centerpiece of the story is a poem written by a fictional 13 year-old. The biting and sarcastic lyrics and humor of Ian Anderson became a top selling response to the charges of “Jethro Dull.”

8.) David Bowie – Outside / 1995
Based on Bowie’s short story The Nathan Adler Diaries, this is a futuristic, Bladerunner-meets-Nine Inch Nails concept that is startling in it’s originality. Nathan Adler has a Government job to decide what is Art and what’s trash. Throw in a good murder mystery, coupled with a surreal Dali- Enoesque production, and you wind up with an unqualified success. No one on this list took a bigger chance than Bowie with this release. If the Tin Machine project turned off the Ziggy Stardust/Thin White Duke crowd, Outside absolutely buried Bowie’s past. The musical risk-taking alone should have pushed this much higher in the rankings, but some of Townshend’s and Davies’ songs are just too strong to overcome. Jagger, Page & Plant, and all the other groups stuck dishing out the same meal should take note. But they won’t. This is my favorite concept release of the last 30 years; the future is for those who can hear it.

9.) Lou Reed – Berlin / 1973
Lester Bangs called this the most depressing record ever made. I don’t disagree, but personally think it’s more dark and heavy than depressing. Lou Reed takes a detour from his walk on the wild side and writes about a relationship that breaks down due to drugs and suicidal tendencies. This record has great sound and arrangements from Alice Cooper producer Bob Ezrin. Berlin is a concept LP that I can’t play very often, but when I do, the beauty of it is unrivaled by anything that Lou Reed has ever written. I wouldn’t argue if someone called this their favorite record ever, but its black hole gravity makes me hesitate to put it higher on my list. I’m afraid that somehow while listening to it, I’ll enter into the same downward spiral with no escape possible.

10.) The Kinks – Soap Opera / 1975
Is there a Kinks bias on this list? Yes, because Raymond Douglas Davies is the greatest rock conceptual songwriter of all time. I could easily have put in the number ten position Muswell Hillbillies, Lola Vs Powerman And The Money-go-round, Preservation Act 1 and 2, or Schoolboys In Disgrace. I chose Soap Opera because of its simple tale that resonates so well with today’s celebrity-fixated culture. The story revolves around Norman, a common man who wants to be rock star in order to escape his mundane world. Ray Davies has always been in tune with everyday feelings and emotions. Is there a more real story than the idea that we all want to be famous? Soap Opera accurately foreshadows the beginning of the modern celebrity cult that we find so fascinating today. I envision a slightly revised Broadway show with Norman now playing Guitar Hero or Rock Band 2 on his play station as he rules the universe. With Ray Davies as the writer, everybody’s a star.

Honorable Mention:

You’re A Good Man, Charlie Brown
Gong- Radio Gnome Trilogy
Pink Floyd- The Wall
Frank Zappa- Joe’s Garage
Spock’s Beard- Snow
Genesis- The Lamb Lies Down on Broadway
-Jim Webb

Some might argue that a few of my titles don't meet the minimum requirements of 'concept album.' I conclude that a concept can be dictated by the overall mood of the recording, particularly one that is not reflected elsewhere in the artist's body of work. Peculiarly, a good many of these records have an autumnal flavor, including the "rock opera" selections. Here's my list:

1. Forever Changes- Love (1967)
"We're all normal and we want our freedom"- Arthur Lee's eulogy to Los Angeles. Also his self-requiem: "When I did that album, I thought I was going to die at that particular time, so those were my last words."

2. Muswell Hillbillies- The Kinks (1971)
Life in the welfare state, North London (and Stereo Review's Album Of The Year- 1972): "Gotta stand and face it- life is so complicated."

3. The Who Sell Out (1967)
LP as pirate radio broadcast, but they drop the concept at the beginning of side two. Perfect!

4. Geek The Girl- Lisa Germano (1994)
Need to clear the room? Put this on. You'll probably leave, too. Lisa Germano: "Hi. This is the story of geek the girl, a girl who is confused about how to be sexual and cool in the world but finds out she isn't cool and gets constantly taken advantage of sexually, gets kind of sick and enjoys giving up but at the end still tries to believe in something beautiful and dreams of still loving a man in hopes that he can save her from her shit life.........ha ha ha, what a geek!"

5. Pet Sounds- The Beach Boys (1966)
Mike Love didn't 'get’ it': what better endorsement do you need??

6. Histoire de Melody Nelson- Serge Gainsbourg (1971)
Melody's riding a bicycle when Serge hits her with his Rolls. Age-gap romance ensues, only to end tragically when the cargo plane goes down over New Guinea. Don't ask.

7. Pink Flag- Wire (1977)
Media-informed Art Punk tour de force: 21 songs in 35 minutes 37 seconds that work best when experienced as a whole.

8. It Falleth Like The Gentle Rain From Heaven-The Mekons Story (1982)
A collection of outtakes, live tracks, b-sides, etc.: what ties it all together is David Spencer's (who?) drunken - on cider, to be precise- narration. Mine's another!

9. Ogdens' Nut Gone Flake- The Small Faces (1968)
"Are you all seated comfortable, too square on your botty? Then I'll begin..." Here the 'concept' starts on side two (see Sell Out), being the story of Happiness Stan's 'trip' to find the missing half of the moon. Hmm.

10. Odessey and Oracle- The Zombies (1968)
An Invasion-era beat group on the brink of disbandment give it one more try, and create a pop marvel. The theme, whether intended or not, alternates between desire/longing and resignation/acceptance. Seems to summarize The Zombies own career, sadly.

Also:

David Bowie- Ziggy Stardust and The Spiders From Mars
The Flaming Lips- The Soft Bulletin, Yoshimi Battles The Pink Robots
Horslips- The Man Who Built America
The Jam- Setting Sons
The Kinks- VGPS*, Face To Face, Arthur
The Pretty Things- SF Sorrow
Lou Reed- Berlin
Spirit- Twelve Dreams of Dr. Sardonicus
The Who- Quadrophenia, Tommy

(*Village Green Preservation Society is truly my number one, but since it made your list, I left it off.)
-Michael Mooney

George Harrison; Art of Flying

The Secret Museum
By Jim Webb and Michael Mooney

George Harrison
I was listening to “The Radha Krishna Temple” CD recently and started to dig deeper into George Harrison’s involvement with the Hare Krishna movement in the late ’60s and ’70s. George produced and played harmonium on “The Hare Krishna Mantra” single, which was released in August of 1969 on Apple Records, and it quickly went to No. 12 in the U.K and No. 1 in Germany & Czechoslovakia. “Govinda” was the second single released in March of 1970 and it peaked at no. 23 on the British singles charts. George has said that watching the Hare Krishna devotees sing on the UK TV show Top of The Pops 40 years ago was one of the greatest thrills of his life. As big as The Beatles were, George Harrison’s role in helping The Pepsi Generation discover the sacred vibrations and religion of ancient India might be a bigger accomplishment than anything he ever recorded with The Fab Four. To all of the smart asses who want to know why, if Krishna (God) is so powerful, his devotees didn’t always have a no. 1 hit in every country—that’s just another mystery you can ask The Big Man (or gasp, Woman) about when you finally leave the material world. Chant and be happy.

George’s Spiritual Timeline:
- Born February 25, 1943 in Liverpool England
- First Holy Communion, age 11, 1954 (Anglican father/Roman Catholic mother)
- Spring 1965 takes LSD for first time
- June 1965 meets Indian musician Ravi Shankar in London
- October 1965 plays sitar for first time on Beatles record (“Norwegian Wood”)
- September 1966 visits India/Kashmir with Ravi
- July 1967 sings Hare Krishna Mantra for first time on holiday in Greece
- August 1967 meets Maharishi Mahesh Yogi
- February 1968, travels with Beatles to Rishikesh, India, for retreat with Maharishi
- December 1968 meets Hare Krishna devotees for first time
- August 1969 Apple releases “Hare Krishna Mantra” single, produced by George
- September 1969 meets Swami Prahbhupada, head of Hare Krishna movement
- March 1970 records “Govinda” single with devotees of The Radha Krishna Temple
- October 1970 finishes recording for his “All Things Must Pass” LP
- January 1971 “My Sweet Lord” single no. 1 around world with Hare Krishna refrain
- May 1971 “The Radha Krishna Temple” LP released, produced by George
- August 1971 organizes/performs at The Concert for Bangladesh in N.Y.C.
- March 1973 purchases Tudor Manor on 70 acres outside London for Krishna Temple
- February 1974 visits Krishna’s birthplace in Vrindavan, India
- November 1977 Swami Prahbhupada dies, Hare Krishna Movement struggles
- December 1980 John Lennon killed, George retreats to his Friar Park estate
- April 1996 travels to Vrindavan, India
- August 1997 undergoes surgery for throat cancer
- December 1999, attacked/stabbed repeatedly at his home outside London by intruder
- September 2000 makes trip to India
- March 2001 cancer spreads to lungs
- Spring 2001 visits India for last time to bathe in Ganges River
- November 29, 2001 dies at a friend’s home in Beverly Hills, California
- George’s body is cremated and his ashes are rumored to be scattered in the sacred Ganges and Yamuna rivers of India

References:
“I, Me, Mine” by George Harrison
“Here Comes The Sun” by Joshua M. Greene
-Jim Webb
webbjuice@comcast.net

Art Of Flying Interview: David Costanza, Anne Speroni, and Peter Halter

(For Anne and David): Your press kit states that you were both participants in the 1980s Los Angeles Free Rock/improv scene through your membership in The Whitefronts (I presume this was during the Downtown/loft heyday, e.g. Blue Daisies, Party Boys, Savage Republic, etc., so correct me if I'm wrong.) Tell me about those times, the San Francisco connection and what led you here. Also, a word or two about The Lords of Howling.

Anne: ’80s-’90s- When we started out in the ’80s it was kind of the heyday of college rock and we were pretty tuned into that stuff, though I don't remember being crazy into any one thing. The Minutemen were a big inspiration, and older stuff like Velvet Underground, but we were also exploring stuff like Art Ensemble of Chicago, Sun Ra, Cecil Taylor. We moved away from song and form for a while and connected with some free improv players from the Boulder/Denver area. That was when we started playing with Lords of Howling, a move back into song and deeper into language, and met Peter, our drummer, who we have been playing with since then.

David: I think the L.A. part is a bit over-stated—we once stopped at the MUSIC MACHINE in Santa Monica or West Hollywood & saw five bands play—"blood on the saddle” was one & a band I forget the name of that had Hilel Slovak & Flea & would be later called “red-hot-chile-peppers” & of course the MINUTEMEN which would be the reason we were there—BUT, basically—the band lived in Santa Barbara which isn't as cool—we played parties in people's little apartments & we tried to play 'second-wave' ska like the selector & english beat—these parties deepened our love for improvisation—as we just kept the few songs we knew going & going & going until the keg ran out—later we would hear the MINUTEMEN & meat puppets & husker DU & mixed that into the ska bit & the improv bit—the whitefronts ended up in San Francisco—which was very cool musically & had 4 guitarists & 2 bass players & really started making some NOISE & having fun—& weren't really appreciated all that much—we hooked up with Camper van beethoven & played shows with them & then turned down an offer for a record on their pitch-a-tent/rough-trade label & high-tailed it for the land of enchantment—I toured with camper once as a trumpet player in 1986 or thereabouts & played on their first album for VIRGIN “our beloved revolutionary sweetheart” & made a little $$$dough which I really thought was cool. the guy from savage republic—Bruce Licher—had a label & a letter-press & put out a bunch of beautiful albums—camper's first being one of them—that letter-press stuff was a big influence—-'let's move out to new mexico & get a letter press & record our own albums & release them'—lots to learn—ThOUGH the LIGHT seem SMALL is AoF's 6th CD—we did get to do an album—GALALA—that was on a label in SF & was all beautiful & letter-pressed by our friend Shane De Leon in Portland, OR.

The Lords of Howling started around 1990 after the demise of the whitefronts—we had a crazy great time & recorded 12 cassettes at the barn & one CD—toured the NorthWest maybe five or six times & really learned—again—how to play—we made some beautiful music & I got to be around an amazing & scary-prolific songwriter—which influences me to this day.

Your songs seem particularly well suited to this region. Is that by design? To what extent, if any, does the physical environment of Northern New Mexico, specifically your neck of the woods, influence the music you create?

Anne: PLACE, well, I'm sure it plays heavily into our writing and sound. All that vastness and beauty, and even the isolation, in terms of not really being part of something scene-wise certainly feels inspiring. The intention or design was not necessarily an artistic one, but rather a lifestyle choice. Choosing to live in a place where the music we created was rarely heard by anyone, was obviously not very wise in a career sense, but brilliant in the sense that we have been able to continue to go deeper into the realms that really interest us, and in turn, the music has kept us well fed spiritually and artistically for all these years and hopefully many more. I just look at it as the soundtrack to our lives.
David: I like to mention places/people/things around me in a song—when I can—I don't know how this town affects the music—other than being so far from a 'current' music scene—it allows us to breathe & make music & let it sound like whatever the song wants to sound like—we've been making music in the BARN for over 20 years—all kinds of music—the 'marching band' kind of stuff & the free-improv stuff & the folky song singing kind of stuff—the People central to Art Of Flying & the friends around them—they make as much music as they can—always working towards some sort of beauty & playfulness—never mentioning the words 'genre' & 'style.'

CD Baby recommends your music to fans of Bob Dylan, Nick Drake and Tom Waits. However, your latest release, thOUGH the Light seem SMALL (am I getting the cases correct here?), reveals other, less-obvious influences. I'll go out on a limb and suggest Syd Barrett, early Milhaud, Peter Perrett, Dr. Strangely Strange, Van Dyke Parks and The Plugz. How wrong am I?

David: I don't know any of those bands except Syd Barrett that I listened to maybe twice—I wasn't that into him—I might listen to it again if an LP was lying around the studio—I listed a bunch of influences above—& they were really LIVE stuff influences—watching D. Boon (minutemen) sing & jump up & down—just watching people play—in real time—like—shit—how do they play & sing at the same time—on record I listened to DESIRE by Bobby D a thousand times—& slow train coming—& Peter Tosh & Richard & Linda Thompson & rolling stones—Art Ensemble of Chicago & Cecil Taylor—monk, mingus & the Clash- tons of Glenn Gould bach piano solo stuff- & now I'm listening to the bach cello stuff & a little beethoven violin/piano sonatas—I listened to ziggy stardust (bowie) a bunch before making the last CD hoping that would leak in a bit—

Anne: I don't know about influences really. I love Dylan. I like Nick Drake. I like Tom Waits. Dylan is always on the top of my list. The other stuff I’m not that familiar with, Syd Barrett a little.

What’s your opinion of the local music scene?

David: My favorite parts of the 'music seen' around here are: the people I get to play music with; the seco pearl; KUNM free-form & my recording studio up in Questa: the BARN.

Anne: I love Two Ton Strap

(For Peter Halter): Sir, explain yourself.

Peter: At age 13 I watched Count Basie turn a high school auditorium into a hip joint. The drummer Sonny Payne became my idol, with his driving laid back beat. Since elementary school I played the drums and my brother played the trumpet. We'd listen to albums along with my father, a lover of jazz. Rock and roll (from my older sisters) and jazz were my first musical influences, which led to free jazz, Ornette Coleman, Albert Ayler and Art Ensemble of Chicago. Listening to free jazz led to Fred Frith, John Zorn and avant-garde music, which expanded to more obscure groups. Then working with community radio, KGNU in Boulder opened me to all musical genres. But, the most fulfilling influence is playing music, the language of music and camaraderie. Currently, I play with Art of Flying and The Marching Band. In the past I've played with Frio (Front Range Improv Orchestra), Oriental Surfer Head and The Lords of Howling.

You are in the unique position of owning your own analog studio. Setting aside my envy for a moment, doesn't that particular method of recording require a degree of preparedness and/or patience beyond what's normally expected of a 21st century Rock group?

Anne: Having our own studio (Dave's studio) has always been our saving grace. We've never had to work with the pressure of the clock ticking away. Though there have been numerous other technical challenges which continue to try our patience, we all have a good sense of humor about it. The Barn (the studio) has been as much a part of our process as anything else, and for me, it doesn't ever get any better than playing there. I enjoy going out and playing for other people to a certain extent, but really, it's all there, all the feedback I need is in the energy of that room that has accumulated over the years.

David: pATIENCe is (sometimes) ALL there is ... well ... there IS more ... but how to see IT without patience?
-when I returned to the BARN in 2006 the first thing I put in the (out of) control room was a cast-iron BuddhA I got at a flea-market. "what do you have to teach me, mr. Buddha?" I asked. "PATIENCE." he replied—"GREAT!" I said, "I'll be here 'til 4:0-clock!"—then I bought the old QUAD EIGHT conSOUL...
It took me two years of wiring & crying to get a sound to come out of the new (old) thing; another year before we finished the first record: thOUGH the LIGHT seem SMALL ... patience—yes—I am beginning to understand ... ALL during that time I was writing the songs—my impatience being slowly peeled off of me like an old skin ... no more use for it ... impatience ...
Chris the Beautiful said: "no one can stop us from making records ... not even by not listening to them."
I guess I'm not interested in what is expected from a 21st century rock group—how about a 19th century rock group? Herman Melville on guitar. Walt Whitman on turn-tables. Emily Dickinson on bass. Abe Lincoln on drums.

thOUGH the Light seem SMALL is truly an exceptional record. Why are your local appearances so infrequent?

Anne: Where would we play??????????

David: right now—other than the Seco Pearl—there isn't any place in town that's a very good fit for us—we love to play LIVE—& we play quite a bit at the BARN—our musical 'bat-cave' so-to-speak—going out 'into the world' needs to be something special—

Choose one: Melville or Hawthorne?

Anne: Hawthorne

David: Melville … and even if it isn't a photo-finish- I would have trouble saying sayanara to all Hawthorne forever ... (I've only read the Scarlett Letter—& it was so great—I couldn't put it down—unlike theWHALE which I've put down maybe 25 times—maybe only 10 ... BUT, it seems like 100!) like BOWie—Hawthorne reached th'MILLION-which I have great respect for ... the title: ThOUGH the LIGHT seem SMALL- is either hawthorne or Melville—I took a bunch of notes a few winters back & I no longer remember which book it came from—the chorus from 'the LOVE song for LARRY YES' is definitely Moby Dick—

You've got some European shows set for late spring. What comes after?

David: we're booking an Italian tour right now—15 shows & a festival—we're rehearsing a bunch for it—we have a show in Albuquerque at a place called the KOSMOS April 30th then May 1st at SHADOWs w/ Manby's Head & then May 15th at Seco Pearl—those 3 shows should get us warmed up for Italy—I want to head back to the NorthWest in the fall—in between I want to continue on this new record we started—we have a bunch of stuff on tape—some old methods of making sounds & layering it & seeing where it goes & some folk songs just sung on to the tape wondering if something/anything is needed to be added to it—we have SUANFEST #11 this summer—lots of music going on.

Anne: I am dying to get back in the studio. There is never any shortage of material, and after the last session of recording we did, which was a bit of a departure, i'm really anxious to get into a different space and experiment a bit more, leave space for some more unknown elements to emerge.

Art Of Flying releases can be obtained at their performances, and website: www.discobolus.net
Also, here: http://artofflying.bandcamp.com/
thOUGH the LIGHT seem SMALL is available locally at Taosound.
Art of Flying calendar:
April 30 @ The Kosmos, 1715 5th Street NW, Albuquerque
May 1 @ Shadows Lounge & Grille 330A Paseo del Pueblo Sur, Taos
May 15 @ Seco Pearl, 590 Hondo-Seco Road, Arroyo Seco
-Michael Mooney

Adventures of Flannery : A Portrait of Cathal Coughlan by Bandit Films

http://vimeo.com/9730708

From the archives: Rock Guitar Blowout

Today’s assignment: The epitome of kick-ass rock. Uptempo guitar riff blowouts, heavy and smokin': the MOTHER list of all foot stompin' rock tunes that we were raised on.

Unfortunately, heavy and smokin’ ain’t always uptempo. In fact, because it’s so heavy, it’s frequently very slow, and unable to stomp it’s feet at all. Here’s a random sampling:

Love- Seven and Seven is (Da Capo LP- 1967, single- 1966)
Proto-something or other and the baddest dude on the Sunset Strip.
Oop-bip-bip, oop-bip-bip, YEAH!

MC5- Looking At You (single- 1968)
Frantic testimony from Brother Tyner over a furious fuzzy squall recorded on a Radio Shack condenser mic at the far end of the airplane hangar.

Beatles- I Want You (She’s So Heavy) (Abbey Road LP- 1969)
Shit. Judging by this monster track, if The Beatles had stuck around, every proggy girl’s blouse would have their clocks cleaned REAL quick. So long, ELP!

Randy Holden- Guitar Song (Population II- 1969 LP)Like it says: just Randy, a drummer, sixteen 200-watt Sunn amplifiers, and Dickie Peterson nowhere in sight. Far-out.

Free- All Right Now (Fire and Water LP- 1970, single- 1970)
Black Sabbath- Paranoid (Paranoid LP- 1970)
1970: being a good year for the chance indelible guitar figure (see below).

Fleetwood Mac- The Green Manalishi (single- 1970)
Peter Green didn’t want the money or fame, and gave us this instead (see The Clash: Jail Guitar Doors). Thanks, Pete!

Sir Lord Baltimore- Hell Hound (Kingdom Come LP- 1970)
Slippery, choppy- how can that be? And it feels like this: “Woo-muhn is uh hal-hown-duh, you know I got the fee-vuh”!

Chicago- 25 or 6 to 4 (Chicago LP- 1970)
The fastest gun in the (Mid-) West (sorry, Ted) versus Chicago’s horn section, and wastes them cold (careful with that pistol, Terry)

The Stooges- T.V. Eye (Funhouse LP- 1970)
Ron Asheton finds a chord sequence he can almost master, repeats till he needs to use the bathroom halfway through, but returns in time to remember where he left off. A Rock masterpiece is born. I’m kidding.

Groundhogs- Cherry Red (Split LP- 1971)
Spartan power-rock. One tap of the cowbell (rock percussion’s most effective weapon) and TS McPhee’s greatest distillation of Heavy Blues is off and running with dynamics galore. Feverish.

Focus- Hocus Pocus (Moving Waves LP- 1971, single- 1973)
Alternating between wickedly fluid guitar turns by Jan Akkerman and Thijs van Leer’s keys, flute, and truly bizarre gnomic vocalizing, plus an ace rhythm section, this bears no resemblance to anything else from these Dutch Prog masters. The single edit belatedly hit the US Top Ten in ’73. So someone bought it. Now fess up.

Deep Purple- Highway Star (Made In Japan LP- 1972)
I chose this over the studio version (Machine Head) simply because it’s more muscular and loosey-goosey. Ian Gillan sounds like he knows he’s the luckiest man in the world. See Amboy Dukes (below).

Alice Cooper- School’s Out (School’s Out LP- 1972, single- 1972)
An anthem to those of us leaving life-phase one (8th grade/Junior High), while assuming things would improve for phase two (it didn’t). Also, Hard Rock was becoming more rare on AM radio that summer. Need a reminder? Here’s the Billboard Top Ten from August 5, 1972:
1. Alone Again (Naturally)- See?
2. Brandy (You’re A Fine Girl)- I do like this one, though. A LOT.
3. If Loving You Is Wrong…
4. Daddy, Don’t You Walk So Fast- I said SEE?
5. Too Late To Turn Back Now
6. Where Is The Love
7. School’s Out
8. How Do You Do- Man, this one didn’t waste ANY time on its trip to History’s dustbin.
9. Long Cool Woman- Fake CCR (doesn’t count).
10. Layla- And neither does this.

From Wikipedia: Cooper has said he was inspired to write the song when answering the question, "What's the greatest three minutes of your life?", Cooper said: "There's two times during the year. One is Christmas morning, when you're just getting ready to open the presents. The greed factor is right there. The next one is the last three minutes of the last day of school when you're sitting there and it's like a slow fuse burning. I said, 'If we can catch that three minutes in a song, it's going to be so big.'"

Blue Oyster Cult- The Red and The Black (Tyranny and Mutation LP- 1973)

They get their man in the end: hyper riff-o-rama, tight as a bull’s arse, but it ain’t no sheep (it’s Buck)

Amboy Dukes- Pony Express (Call Of The Wild LP- 1973)
Most anything from Nugent is going to have a killer riff. This album is full of them (and THIS one happens to be borrowed from Highway Star)

The Troggs- Strange Movies (single- 1973)
Reg Presley encounters porn and (shock!) approves, while minimalist guitar master Chris Britton riffs on Joe Meek’s staircase, and Ronnie Bond thumps between pulls on the jug. A Rock masterpiece is born. No kidding.

ZZ Top- Tush (Fandango LP- 1975)
This one reached the Top Twenty in the sweltering summer of 1975, but in Philly I’ll bet it went way higher than that. Smart and ballsy, just the right length (2:14), and loud enough to drown out Jive Talkin’ playing on that dude’s transistor over there.

Television- Friction (Marquee Moon LP- 1977)
Tense and slashing raga-punk rave-up stretched to the breaking point.

Buzzcocks- Fiction Romance (Another Music In A Different Kitchen LP- 1978)
Why do people find the Buzzcocks wimpy? This driving, angular dual-lead workout starts Motorik, then careens all over the M1 before missing the J42 interchange.

Black Flag- Rise Above (Damaged LP- 1981)
I wasn’t thinking of including anything more recent than the 1970s here, but I just counted 19 songs on the list, needed 20, and this one came immediately to mind. A furious, funny anthem from an adult record made especially for kids, or School’s Out for Gen X tykes.
-Michael Mooney

Mike-
After mulling it over I pretty much knew where I was headed, but used a couple of Google searches after the fact to see if I forgot something important. The searches were ultimately weak and pathetic (that's why we are doing this damn guide). The only song found that made me think twice was Ram Jam - Black Betty. I concluded that if I didn't think of Black Betty originally, it must not be in my bonecrushing best of pile. Maybe this should've been split into separate lists for the 60's/70's/80's. The 70's obviously dominated my list; some might say it shows my bias from early listening habits. I simply think that the guitar was king in the 70's and the producers made sure it was up front in the mix.

1.) The Kinks - You Really Got Me - Dave Davies bludgeons the world. Bonus points that it's from 1964,and such a brutal riff that was copied and slightly varied into so many other classics that it's rightful influence can't be denied.

2.) MC5- Kick Out The Jams - I feel like I'm at the 1968 Chicago riots.

3.) Mountain - Mississippi Queen - The Great Fatsby's finest hour.

4.) Steppenwolf - Born To Be Wild - The most perfect match of music to lyrics in the history of the planet.

5.) Led Zeppelin - Communication Breakdown - Page stole Whole Lotta Love from Willie Dixon; at least here I don't know who he nicked it from (I still love the thieving bastard).

6.) ZZ Top - Beer Drinkers and Hell Raisers - I'm dreaming of an ice cold Lone Star

7.) Deep Purple - Burn - Spinal Tap idiots will pick Smoke On The Water or Highway Star (nota bene: I picked Highway Star!- mm). Ian Gillan was at his best as Jesus. A room full of apes could've come up with Smoke On The Water (some say did). Burn does sound like a witch is being burned at the stake, and has the added bonus of Ian Paice's finest drum track ever.

8.) Johnny Winter - Still Alive And Well - The albino is back with a vengeance.

9.) Robin Trower - Day of the Eagle - A 70's guitar rock classic. Robin never topped Bridge of Sighs.

10.) The Stooges - I Wanna Be Your Dog - This is so primitive I almost left it off, but the Darwinian connection between animals and certain rock musicians was too great to pass up.

11.) The Clash - Complete Control - A true buzz saw riff.

12.) Black Sabbath - Paranoid - A lot to choose from with these guys.

13.) Blue Oyster Cult - Hot Rails to Hell - Buck Dharma has to be on the list somewhere.

14.) Focus - Hocus Pocus - A ferocious riff, it dropped down because of the yodeling.

15.) Guns & Roses - Welcome To The Jungle - I hate to put this on because Axl is such an ass, but this is more about Slash.

16.) Sex Pistols- Anarchy in U.K. And to think no one at first believed they were playing their own instruments.

17.) Cactus - The Swim - Blistering.

18.) Ted Nugent - Great White Buffalo - Michigan is well represented in the top 20

19.) Thin Lizzy - Are You Ready - A live staple of the band.

20.) N.Y. Dolls - Puss N' Boots - Johnny Thunders fat riff rounds out the list.

Honorable Mention:

Aeroshite- Train Kept A Rollin', Black Flag- Six Pack, Blue Cheer - Summertime Blues, Foghat- Honey Hush, Guess Who- American Woman, Rory Gallagher- Shin Kicker, Montrose- Space Station No. 5, Nazareth- Razamanazz, Romantics- What I Like About You, Stiff Little Fingers- Suspect Device, Undertones- You’ve Got My Number .
-Jim Webb

From The Archives: The Clash

From Notting Hill to the Five Points Riot

The Clash: The Clash

I don't know why this record (UK edition) did not immediately resonate with me when I first heard it in Jim's room that Year Zero summer- too dole-queue English in outlook? Too harsh and trebly? Not enough hooks? Was it Joe Strummer's one-dimensional croak? Or a message I just wasn't ready to hear? It’s difficult to say. As a more-typical-than-I'd-hoped-to-be 19 year-old barely coping in the Teenage Wasteland of suburban Philadelphia, I certainly had enough distractions to keep my increasingly short attention span occupied. In any event, after several spins of Jim's copy (apparently it worked for him), I decided to give a pass on The Clash. But when CBS released a re-sequenced domestic version two years later (replacing four original songs with seven non-lp single tracks), I bought it (in tandem with Give 'Em Enough Rope), and suddenly everything clicked. THIS was MY music.

By the summer of 1979, I'd spent a few miserable post-high school years living the very things the Clash sang about- being bored, working a series of go-nowhere jobs, loving rock 'n' roll, feeling alienated, getting stoned, lacking social status, and (most-profoundly) jail guitar doors- just like, except for that last one, several million other dumb American kids (so why were they all listening to Toto, Benatar and Breakfast In America and not THIS?). The contrast to Give 'Em Enough Rope (released six months prior) was extreme, and not just because of Sandy Pearlman's big and slick production (someday we'll need to take a closer look at that one; it definitely isn’t the Sophomore Slump). A comparison of the two puts the former into perspective, but requires it's own juxtaposition with the original UK release.

Stated simply, I didn't realize what I was missing. While the US version is the meatier prospect, song for song, and displays to fuller effect the humanity, humor and reach of the band (adding the excellent- and free- bonus single, it sets the stage for London Calling), The UK edition is the one for me. There's an immediacy here that is unparalleled in the annals of Rock, a low-fi fury of tightly wound working-class frustration, sulphate-driven riffing (Mick Jones- guitar HERO), and the rabid bark of THE quintessential acquired taste in Rock vocals. The Clash is an attestation to the disaffected, a permission slip to act up (which I took literally for the next twenty years) and ask questions (ditto- plus ten). And the hooks were there all along. When I listen to this record now, I can see the boy who became the man, and hear the voice of Strummer reminding that boy that he is not alone.
-Michael Mooney


I bought the White Riot 45 at Plastic Fantastic in Bryn Mawr, Pa. It sounded like an ambulance racing by at 90 miles an hour, sirens wailing. The power and fury were extraordinary. The Ramones had led the way, and The Damned's New Rose was one hot track, but The Clash were serious from start to finish, and were on the Front Line. Listening to the first Clash LP was like a radio transmission from Mars that suddenly came blasting through my stereo speakers. Certain words and phrases jumped out of the distortion... “I'm So Bored With The USA”, “Career Opportunities, the ones that never knock”, “We come from Garageland”, “Hate and War- the only things we got today”, “London’s Burning with boredom now”, “Monday’s coming like a jail on wheels”…

It felt like a nuclear blast when you consider the weak crap Fleetwood Mac, The Eagles and Frampton were pushing. This wasn't just a music group; it was the complete package. Clothes, style, music, political beliefs all rolled up inside that ambulance heading past your house at breakneck speed with the windows rolled down, flames and massive sound pouring out. The raw power and style of Punk was an earthquake that forced major changes in our lives. Mike and I left for London Town on October 31, 1977. Nothing could stop us from being part of that scene.

December 13, 1977, Rainbow Theater, Finsbury Park, North London: The Clash, Sham 69, The Valves. The electric jolt of Complete Control short-circuited every brain cell. I had found the actual center of the Universe. “The Only Band That Mattered”- true for a while. No wonder the sheer force of Punk Rock buried all the 70's dinosaur bands like ELP and Yes.

Rest in peace, Joe. Mission accomplished.
-Jim Webb

The Clash: The Clash (Epic UK, 1977; Epic US, 1979)

John Zorn; The Dovells

The Secret Museum:
Jim Webb & Michael Mooney

John Zorn & His
Radical Jewish Music
It is hard to talk about John Zorn’s music since it defies all accepted borders and has encompassed almost every stylistic trend of the last 50 years. He is a musician (saxophonist), record label owner (Tzadik), artistic director (The Stone performing space in N.Y.C.), besides being one of America’s most prolific composers, appearing on over 400 recordings.

Zorn became better known starting in 1985 for his release titled “The Big Gundown,” where he adapted the music of filmmaker Ennio Morricone into his anything-goes style of avant/jazz that helped solidify his stature as one of New York City’s most respected “downtown” artists. The word Downtown here is not just where this collective group of musicians lived, but is a term that became the catch phrase for all things experimental. He also has a large discography of film soundtrack recordings, recorded prolifically in the early ’90s with his noise/metal/punk/jazz outfits called Naked City and Painkiller.

Up until 1994, I would not have called myself a big Zorn fan. Naked City/Painkiller were so extreme at times that even though you could occasionally marvel at its sheer power and complexity, I never seemed to find the right time in the day when its punishing moments could be listened to for more than a brief period. Zorn released Kristallnacht in 1992 and it revitalized his interest in exploring and contributing to his Jewish roots. He founded his record label Tzadik (righteous man) in 1995 and decided to write one hundred songs for his latest band called Masada. They incorporated elements of Klezmer, Eastern European folk music and classical string parts to create a new kind of Sephardic chamber jazz sound. The Masada String Trio and The Bar Kohkba Sextet have also recorded these songs and in 2004, Zorn wrote three hundred new compositions for a series called “The Book of Angels.” “The Book of Angels” is now up to 13 released volumes of music, with Uri Caine, Erik Friedlander and Marc Ribot being just some of the musicians that have recorded these new compositions. This extended period of quality music encompassing everything from the Masada quartets through the 13 volumes “The of Book of Angels” is easily Zorn’s most consistently enjoyable work for me. Volume 13 was released in January 2010 and is titled “Mycale.” It continues Zorn’s unpredictable ways with 33 minutes of music performed a capella by four female vocalists. I still find that some releases from Zorn outside of the Masada/Angels series are too ambitious for my tastes in music. He released a three CD metal/free jazz play in 2006 (“Moonchild/Astronome/Heliogabalus”) that had spontaneous sounds coming from vocalist Mike Patton instead of words. John was awarded a MacArthur Foundation grant of $500,000 in 2006 and his muse continues to take him far away from following any one established path as a writer and performer.

His music is consistently more melodic now than in the past, and his strength as an original writer remains unchanged. With his Masada/Book of Angels work, Zorn has taken strands of classical, jazz and traditional music and interwoven them with his modern influences to create something truly unique. Now it doesn’t matter what time of the day it is, I find myself listening to these various string trios, Klezmer and jazz infused releases. The radical part of John Zorn is not politically based in pro or anti-Zionist messages, but in his ability to synthesize the musical roots of the Jewish Diaspora into a modern songbook that can be reinterpreted by other musicians in the years to come.

“I’m not interested in politics, but in people, music, and knowing about human feelings.” – John Zorn.

Recommended listening:
Bar Kohkba—“The Circle Maker”
Masada String Trio—“50th Birthday Celebration”
Cracow Klezmer Band—“Balan; The Book of Angels vol. 5”

-Jim Webb
webbjuice@comcast.net


The Dovells: You Can’t Sit Down
It’s commonly accepted that the First Dark Age of Rock resulted from the following factors: Little Richard found Jesus, Elvis got drafted, The Killer married his 13-year-old cousin, Buddy crashed, Chuck violated the Mann Act, Eddie Cochran crashed. When we look at the Billboard Number One singles from 1960-61, it appears that the rot has set in: Teen Angel, Theme From A Summer Place, Wonderland By Night, a little Lawrence Welk. But see who else is here: Everly Brothers, The Drifters, Ray Charles, Maurice Williams, The Shirelles, Del Shannon, Ernie K-Doe, plus Orbison, Gary U.S. Bonds, Bobby Lewis, Dion, The Marvelettes. Not too shabby, all considered. 1962 is almost as good: Joey Dee, Gene Chandler, Bruce Channel, Little Eva, Ray Charles again, The Four Seasons, Crystals, Tornados. OK, so Bobby Vinton, Connie Francis, and Neil Sedaka are also in there, but there’ve been worse horrors inflicted by the record-buying public. 1963: Steve Lawrence (who I like), The Rooftop Singers, Bobby Vinton (again), and The Singing Nun on the one hand—The Four Seasons (right on), Ruby and The Romantics, The Essex, Chiffons, Jimmy Soul, Lesley Gore, The Tymes, Stevie Wonder, Jan & Dean, The Fireballs with Jimmy Gilmer, and The Angels on the other.

Now, keeping in mind that Year Zero 1964 gave us Number Ones from Vinton (twice! – that’s enough now), Dean Martin, and Lorne Greene (!), the hard facts emerge (and remember, we’ve only been looking at songs that hit the top of the charts; the following rockers enjoyed single success during the same time period- Barrett Strong, Charlie Rich, Miracles, Clarence “Frog Man” Henry, Rosie & The Originals, Freddie Cannon, Sam Cooke, Orlons, Isley Brothers, Booker T and The MG’s, Clyde McPhatter, and many more. Also, this was a time when independent labels and regional sounds reigned supreme- there was always something interesting cooking, and competing with the majors, in the Great Melting Pot): a) there’s always been crap in the Billboard charts, b) Rock Music was alive and well during the early 1960s, and c) we didn’t need the Beatles to save us after all.

The Dovells from West Philadelphia reached Number Two in the fall of 1961 with “Bristol Stomp”: whomping kick drum and snare, ride cymbal, tambourine, one guitar, three doo-wopping Overbrook High grads in back, and the tremendously tremulous white-soul lead vocal of 19 year-old Leonard Borisoff. It’s simple, sloppy, careening and pounding—in other words, Rock and Roll. A few minor hits followed over the next two years, mostly cash-in attempts at exploiting the next teen dance sensation (Jitterbug, The New Continental, Hully Gully, Froog, The Monkey), though outside of Philadelphia, none came close to reaching the heights of “Bristol Stomp.” With one exception.

If any further evidence is required that Rock and Roll was not only still alive in early summer 1963 but kicking arse royally, The Dovells deliver the goods with resolute and stunning conviction. “You Can’t Sit Down” leaps from the speakers with quick drum-roll, organ wash, handclaps and a frantic Borisoff declaiming what you gotta do:

Hey pretty baby,
Don’t you hear the drummer thumpin’?
You gotta shake it like a crazy,
’Cause the band is sayin’ something.
Everybody is a-jumpin’,
You gotta slop, bop, flip-flop,
Hip-hop, all around.

Wild organ, fast and hard drums, out of control tenor sax—this was the sound of East Coast Young America. Jerry Gross, Arnie Silver and Mike Freda join in:

You can’t sit down, you can’t sit down
You gotta move, move, move, around and ’round.
You gotta fly, fly, fly, way off the ground.
They’re puttin’ down, a crazy sound.
No, no, you can’t sit down,
You gotta make it, break it,
Shake it all around.
You gotta slop, bop, flip-flop,
Hip-hop, never stop.

Equally crazed “Betty In Bermudas/Dance The Froog” would follow later that summer, then “Stop Monkeyin’ Around/No No No,” but by December, Borisoff was gone (he’ll return in ’65 with the Northern Soul classic “1-2-3”) and the hits dried up. That same month, on the other side of the country, Portland’s Kingsmen would provide one last brilliant gasp of pre-invasion U.S. chart action before everything changed forever.

-Michael Mooney
Loftholdingswood.blogspot.com


Rock Action
Last month’s interviewees !!The!!Bang!!Gang!! will be playing at Seco Pearl on Saturday, March 27. This could be their last performance for a while. All-new material is promised. Manby’s Head open. Both groups will have their latest releases available for purchase. Admission: $5.00- $15.00.

Seco Pearl: 590 Hondo-Seco Road, Arroyo Seco, 7 p.m. (approximately, call first to confirm) 575-776-1225.

The following week, Caffé Tazza presents electricLuLuland. The artist formerly known as Les Lokey will be presenting ROCKSHOW on Saturday, April 3, in preparation for her upcoming “provocaTOUR.” Admission: $3.00- $10.00.

Caffé Tazza: 122 Kit Carson Road, Taos, 6-9 p.m., 575-758-8706.

From The Archives (Part Two)- Doll By Doll: Gypsy Blood

The Secret Museum
Jim Webb & Michael Mooney


Doll By Doll: Gypsy Blood
(Automatic Records LP, 1979; Rhino Records CD, 2007)

"I see the bars of your prison when you cry"

Released in the early morning of the Thatcher era, Gypsy Blood is a towering monument to the failure of Punk. Working loosely within the Classic Rock idiom, on this recording (their second LP, following the speed-fuelled sonic claustrophobia of Remember- a relentless, dualistic masterpiece of horror and beauty) Doll By Doll blended elements of pub-rock, doo-wop, folk, country, psychedelia, gospel, early-60s pop melodrama, and the Velvet Underground, added their own unique guitar ferocity (albeit tempered here) and a late-70s dynamic production sheen (think Born To Run or Bat Out Of Hell). The result is a singular work of breathtaking magnificence, capped by the sweeping power of Jackie Leven's vocals.

This record simply sounds like no other. From the 1-2 radio-friendly punch of Teenage Lightning and the title track, through the majestic Stripshow, The Human Face and Highland Rain, and finally the unsettled and unsettling Endgame and When A Man Dies, Doll By Doll achieve that rarest of aims: absolute timelessness. The album could have been recorded in 1969, or last week. That it evokes a Britain (and Europe) about to disappear forever is the only clue to Gypsy Blood's moment in time.

Roundly ignored upon release (the album was un-issued in the US), Gypsy Blood's failure signaled the coming musical backslide- Spandau Ballet were just around the corner- that the English record buying public willingly accepted. Nearly 30 years later, it still stands alone, reflective of a time when music took chances and changed lives.
-Michael Mooney



"The Devil of Dreams is Black"

Why is this record so different and important that you should immediately pop round the local shop to order a copy? If I rave about how brilliant Gypsy Blood is, I risk becoming just another fanatic trumpeting his favorite group. But there is truly something special about Doll By Doll, a UK rock band from the late 70s/early 80s led by singer, guitarist and main writer Jackie Leven. Two guitars, bass and drums were the basic components, playing in a straightforward rock style that we’ve all heard before. They are musically tight as a group and play with passion. The magic for me, however, lies in two things which elevate this band from hundreds of others who suddenly appeared on the late 70s scene.

Jackie Leven’s vocals are unique, and will have you on the edge of your seat with the passage of each song, wondering where he will soar to next. I won’t compare him to Roy Orbison, or other celestial-voiced wonders, because, while he has taken on many influences (as Gypsies do), what comes out of his mouth is ALL Leven ALL the time. Jackie’s range is unbelievable, and he has the gift of a classic saloon singer for putting across real depth and emotion.

The other aspect of this band that is so enjoyable to me is the subject matter. These are no run-of-the-mill tunes about whiskey, women, or life on the road. Leven writes from an idiosyncratic perspective that makes his lyrics so much more interesting than anyone else’s. He will walk that lonely street and, by the time he reaches the next corner, you will feel that his world and yours are one. Stripshow is one of the most powerful songs I have ever heard in over 40 years of listening to music. On The Human Face, Jackie sings about knowing why Jesus wept (for the next 30 years he’ll continue to unravel that particular mystery in his solo career). You may at times find yourself close to weeping, too, at the beauty of this music.

Jackie's like an insomniac bus driver, cruising the late-night streets. His passengers are the tired, the hurt and the truth seekers. He lets you know you're not alone, and the common bonds we all share of joy and despair are illuminated by him in a way that reminds us of the beauty of everyday life. No matter how you're feeling when you get on his bus, by the time you arrive at your stop, life has become a more interesting ride.

1979 brought us a lot of great new music, but, in my opinion, Gypsy Blood battles The Clash's London Calling for best LP honors. I vote for Gypsy Blood. Get this CD if you like rock music that has power and intensity yet travels down a different path. You will not be disappointed.
-Jim Webb

From The Archives (Part 1)

The Secret Museum

Horse Fly
Taos, NM
October 23, 2008
A musical dialogue between Jim Webb and Michael Mooney.

Mike-
Ritchie Blackmore of Deep Purple: "Back in the late Sixties, there were few organists who could play like Jon. We shared the same taste in music. We loved Vanilla Fudge - they were our heroes. They used to play London's Speakeasy and all the hippies used to go there to hang out - Clapton, The Beatles - everybody went there to pose. According to legend, the talk of the town during that period was Jimi Hendrix, but that's not true. It was Vanilla Fudge. They played eight-minute songs, with dynamics. People said, "What the hell's going on here? How come it's not three minutes?" Timmy Bogert, their bassist, was amazing. The whole group was ahead of its time. So, initially we wanted to be a Vanilla Fudge clone."

-Guitar World Interview, Feb. 1991.
Quote hi-jacked from the The Highway Star: The Deep Purple Official Site
-Jim Webb


Jim-
...thus began the long, slow decline of British Rock. Actually, Blackmore's full of crap. According to VF's official website, they didn't get to the UK 'til Sept. '69, well past their prime, and never played the Speakeasy. The Beatles by then were pretty much finished. If Clapton was there to "pose", Ritchie's gotta be off by 2 years. Blind Faith had debuted earlier that year; Eric's perm, robes, and poses were long gone. I remember seeing Purple on the Steve Allen show; had to be Summer/Fall '68. Their sound at the time was closer to Fudge than after Gillan arrived in 1969. Ergo too much cider for Ritchie…
-Michael Mooney


Mike-
That Blackmore quote comes from the VF official website, too. I agree that Ritchie’s wine/hash/Mandrax intake has burnt out memory cells. I did think it was interesting that Blackmore, the self-proclaimed inventor of Heavy Rock, actually gave another band credit for influencing him.

I think we should seriously consider writing a newspaper column for CD buyers to help them on their way toward building a collection. There are a lot of 15 to 30 year olds that missed the whole golden age (1966-74) of Rock, and possibly the best of the 80s and 90s, who need a reference guide that will tell them exactly what releases to stay away from as well as which gems to track down. We could either do it in a Siskel & Ebert format where we both give our thoughts on a title, or you could take certain artists and I’ll grab others… Chapters on “sacred cows” where we trash the conventional wisdom of greatness (Van Morrison, etc.), but also make sure that they hear about Gypsy Blood, Mellow Candle, and hundreds of other “lost” classics. You and I have invested too much time in music the last 40+ years to keep this information inside our heads. I am so tired of reading Amazon reviews that turn out to be worthless, or bloggers who are way off the mark. We need to act. This is our calling, something we can leave behind for the future youth. Besides the esoteric and lost releases, we will lay down the truth on “major” acts. Deep Purple’s best is NOT Machine Head or Made in Japan. We can also list the 10 best tracks from any band (for the i-Tunes generation). I have told you before how much time I’ve wasted buying a record and not liking a group- only to find out 10, 20, sometimes 30 years later that I DO like them, I just bought the wrong title(s)…

We have it in our heads, and just need to put it down on paper.
-Jim Webb


Jim-
Let's also keep in mind that certain assumptions can be made regarding the older fans whom may already be familiar with (at least some of) this. We won’t intentionally insult anyone’s intelligence, while reminding the reader that this is primarily a beginner’s guide.
-Michael Mooney

Rod Stewart; !The!Bang!Gang!

The Secret Museum

Jim Webb & Michael Mooney

Rod Stewart: I Used To Love Him, But It’s All Over Now
Some people think that the real Rod Stewart had disappeared by 1980; others say it was in the 1990s, and some long-time fans were even waiting until 2000 or so for his return before giving up. I have proof; it is now undeniable that Rod perished somewhere in Oprah Winfrey Land in 2009. His fatal illness began several years ago when his “Great American Songbook” box-set was one of the worst releases in 2005, and his latest studio release, “Soulbook,” has now confirmed his demise. How did one of the greatest vocalists of our generation turn into a two-bit karaoke stylist that has his heroes like Sam Cooke and Otis Redding turning in their graves?

Rod started off as a harmonica playing fan of The Rolling Stones in the early ’60s when they were churning out souped-up Rhythm and Blues before he became known as the fashionably dressing “Rod the Mod” around 1965. Rock music was the ticket out of working class London for a lot of British youths, and with his distinctively raspy vocals, Stewart had plenty of people clamoring to play with him. After stints with Long John Baldry and singing lead with The Jeff Beck Group, he wound up joining the ashes of The Small Faces in a new band called—The Faces. This period from 1969 to 1974 was when Stewart made his mark as an outstanding vocalist and song writer, crafting such classics as “Gasoline Alley,” “Maggie May,” “Mandolin Wind,” and “You Wear it Well.” When David Bowie was in full flower as an androgynous looking Alien in 1973, Rod happily put on his own shiny, satin Glam-rocker outfits and wore as much makeup as any female who paid to see him.

In 1978, Rod surprised no one by doing a late cannon ball into the Disco waters with “Do Ya Think I’m Sexy,” before joining the MTV Generation in 1984 with a synthpop Duran Duran style song/video entitled “Some Guys Have All the Luck.” He kept selling concert tickets through the years, but it wasn’t until 2002 that he dropped all pretense of having anything new to say and starting mining old songs from the ’30s and ’40s. Nothing wrong with those classic tunes at all, but Stewart adds nothing to their luster and comes across as desperate to keep selling more product. I just hope The Great American Songbook Vol. 5 isn’t coming our way anytime soon. His “Soulbook” release last year was unfortunately a continuation of a marketing plan gone artistically awry. His dull arrangements of Motown/Soul classics, sung with little passion, are all packaged for a certain middle aged demographic and, like his recent cover of “I Fooled Around and Fell in Love,” are just not needed. Rod Stewart used to be a great rock and roll singer. Each year he’s walked a little further away from his roots and he’s been doing his “standards” act for so long now his only goal seems to be improving his Tony Bennett impersonation. The long rumored reunion tour with The Faces might be the only elixir that could bring him back from the dead.

It’s pretty obvious that a long time ago, the real Rod Stewart decided to simply give the people what they wanted. He won’t be the last musician to head down that road, but for him to wind up permanently living there is disappointing. I’d feel the same way about any talented artist who was content to mass produce the same item over and over again for Wal-Mart. Early in his career, he brilliantly took some hand-me-downs from Sam Cooke and The Stones and made them into a custom suit of Rhythm and Booze that only he could fit into. The rented tuxedo that he wears today, anyone could use. Why do I think there is a real Rod Stewart, an artist, somewhere underneath his still perfectly quaffed head of hair? Let’s go back to 1970 when he wrote a song called “Gasoline Alley” that was about his future. With his good looks, voice and stage presence, Rod knew that stardom wasn’t far away, but he also knew there would be a price to pay for that fame.

But if anything should happen and my plans go wrong
Should I stray to the house on the hill
Let it be known that my intentions were good
I’d be singing in my alley if I could
And if I’m going away and it’s my turn to go
Should the blood run cold in my veins
Just one favor I’d be askin’ of you
Don’t bury me here it’s too cold
Take me back; carry me back to Gasoline Alley where I started from
Take me back, won’t you carry me home down to Gasoline Alley where I started from

I could be wrong, maybe Rod didn’t perish last year. There’s always the slim chance that his sales have now totally blinded him and he’s just wandering around lost in Middle America. If you ever do run into him, ask him whatever happened to that old custom suit that he made for himself. If he claims he lost it a long time ago and has no idea where it is, tell him not to worry, he was the only guy it ever fit. One day, if he decides to go looking for it, I’m sure he’ll find it somewhere in that alley back home.

-Jim Webb
webbjuice@comcast.net

An interview with !The!Bang!Gang!!
The Secret Museum has been on a mission lately to verify rumors that a thriving Rock music scene actually does exist in the area. The results appear, rather surprisingly, altogether positive. Unfortunately, the number of venues for Rock music remains limited. One group who came to our attention is !!The!!Bang!!Gang!! Comprising Karen Vargas-vocals and guitar, Spanky Golub-bass and Doan Wilson-drums, !!The!!Bang!!Gang!! deliver a lo-fi roar straight outta Olympia circa 1991. They have recently released a 14-song CD, on which now-departed guitarist Cullen Morris joins them. The following interview took place via email.

Your new CD !!Whatever!!Meinkampff!! has just been released. Why the extra ‘f’?

There are two extra “fs” actually, for emffasis. We like to come up with new ways of treating old words, because historically, that’s just always been the trend. We like the letter “f” a lot.

Assuming I won’t be referring anyone to your MySpace page (http://www.myspace.com/wearethebanggang), would you please provide a short history of !!The!!Bang!!Gang!!?

Well, it IS a short history actually. We’ve been playing together for two years. The first year it was just Karen and Spanky; the second year we decided to start selling timeshares in the cult. Past members include Richie Green, Julia Vanderburg, Cullen Morris and Scottie McKenzie.

Influences?

Janet Jackson, Mozart, Sacred Rats, Mick Collins, Throbbing Gristle, alcohol, Danger, Danger’s mom, Phil Lynott, Val Margolis, breasts, Donna Summer, Sdrawkcab Tebahpla, Anna Nicole, Giardia.

Most of your songs seemed designed to avoid any radio airplay whatsoever. Is that a reasonable inference?

No, it’s the other way around: most radio airplay has been designed to avoid us.

Who is Val Margolis?

Spanky’s dead ex-girlfriend.

What’s your opinion of the local music scene and how would you like to see it improved?

At this point, Seco Pearl is the only serious game in town for alternatives. We’ve seen some GREAT music there. We love Nina and the Seco Pearl! Taosound by the Post Office in town has a nice selection. There’s also a space called the Mandala Project on the bypass, but we haven’t played there YET. We’ve only ever tried to get ONE gig at a mainstream venue in Taos and they turned us down—probably because we’re too risky—but we’ve never really bothered with trying to get gigs in places like that because why spend time on people and things that aren’t willing to spend time on you? In these sort of situations you usually have to make it happen yourself, you can’t wait around for anyone else.

I.D.K.H.T.H.M.B.H. is one of your catchier songs. Why isn’t it on the record?

It’s on the next album, “World War Five, Get Down Make Love,” which will be done in a few minutes.

It stands for I Don’t Know How To Homologate My Bromide Habit, right?

Are you calling us spastic homos?? THANK YOU VERY MUCH!!

What happened to your guitarist?

Which one? We’ve burned through three so far.

Track 12 on your CD, Trinidad—what’s that all about?

Karen is a writer and last summer she went to an art symposium put on by the Colorado Arts Ranch called Sex and Sensibility, in Trinidad, Colorado, which, as you know, is the sex-change capital of the world. The song is sung in Spanish and it’s about her road trip there and meeting various artists and writers including Dr. Marcie Bowers, who performs the surgeries. It’s a corrido, of sorts.

At least one of you likes Roy Harper. Care to embellish?

If you have an album called “Stormcock,” how could we not be a big fan? Also, Roy Harper manifested Jimmy Page having sex with Aleister Crowley, so how can you NOT love that?

There’s a lot of drinking in your songs. Favorite whisky?

Doan and Karen are allergic to whiskey and Spanky is addicted to Jameson.

I’ve given your disc several listens. Interstate and Joan Doanut are my favorites. That’s not a question, obviously, but feel free to respond.

Joan Doanut is a super-loose, barely recognizable, rip-off of Dick Johnson by Pussy Galore. And it’s a super-loose, barely recognizable play on our drummer’s name. It’s a loving tribute to Doan who’s been holding up the other side of the bar at the Taos Inn for the last twelve years. “He’s the guy that everyone knows, he’s the guy that makes your nachos...” Interstate was written by Cullen Morris. Karen really liked the song and asked if we could cover it, so we did.

The hidden last cut on the CD—if it’s not called Soma Coma, it should be. So what’s it called?

It’s called Soma Coma.

!!Whatever!!Meinkampff!! is available at Taosound, Seco Pearl and through Tralalamedia.com.

-!!Michael!!Mooney!!

Manby’s Head / Thelonious Monk

The Secret Museum
Michael Mooney & Jim Webb

I’m Manby, Fly Me
Upon arrival in Taos some dozen years ago, I assumed that I would shortly encounter other forward/backward-thinking musicians with the shared intention of making a gigantic racket. This is an Art town after all, and where there’s Art there’s normally an accompanying healthy musical environment. Sadly—and in true Taos-as-contradiction fashion—this was not the case. There were (and still are), of course, a small number of bands who broke out of their respective garages long enough to play one (ware-) house party before disappearing again, but for the most part, what you see today featured in the bars and at the occasional summer music festival held true then: there is simply no evidence of authentic Rock and Roll to be found among the Jazzbos, jammy world-music poseurs and pseudo Country and Blues groups who cater to the local tourist crowd. Why is this, I wondered (I know a number of people hereabouts with exemplary tastes in music, folks who won’t hesitate to make the five-plus hour drive just to see Yo La Tengo play in Denver)? The obvious answer is that Rock doesn’t make money these days, it’s not propitious to the true Taos experience, it’s noisy and upsets the vacationers (Texans don’t like Rock? Since when?), it attracts an unpredictable audience—they don’t drink enough, they drink too much …

I’ve spoken to several local musicians and it’s true: the money’s in the safe bet, keep it mellow, encourage the two-step, sell those Bud Lights and margaritas.

“I find world music very disconcerting.”—Peter Greenberg

A Rock guitarist with an extensive pedigree—DMZ, The Customs, Lyres, Barrence Whitfield and The Savages—Peter Greenberg believes the Taos music scene lacks energy. When Peter moved here two years ago, he had no expectations of connecting with like-minded players. I first met him last June at Robin McLean’s Taosound record store. He was spinning obscure Garage Rock 45s for an audience of 12. Two weeks later we convened at Paul Reid’s house. A few songs were attempted: “Wild Thing,” maybe “Gloria,” maybe “Teenage Kicks,” I don’t remember. I hadn’t played guitar in years. It showed. An inauspicious start, to be sure, but there was something there.

“The kids are trying; they just lack the correct references.”—Paul Reid

Paul Reid is one of those bassists who make it look effortless. Trust me, it isn’t. He’s got that fluid approach that’s easy to miss if you’re not paying attention. Paul’s been around these parts for 15 years or so. He’s spent the past several keeping various skillful (and in my opinion, unrelieved) rootsy sorts grounded (the gigs pay), but his heart belongs to Power Pop. Close enough.

“It’s been an education on many different levels.”—Eric Whitlock

After a disastrous encounter with a thrash drummer—“I can play Anarchy in triple time.” No. You can’t—and one session with the talented but geographically-challenged Tom Trusnovic, we found Eric Whitlock on craigslist (!), and soon liberated him from a whingy numbers-in-their-name-type punk (lower case p) abomination (you’re welcome, Eric.)

Lineup complete, we commenced writing and rehearsal sessions. The results were documented in December at Jon Gold’s studio above Valdez. (Highly recommended. Taos is very lucky to have this guy.) If there’s a place for Rock in this complicated little town, we’ll find out eventually.

Ladies and gentlemen, I give you Manby’s Head:

http://www.myspace.com/manby39shead

Michael Mooney


Thelonious Monk: The Labeling of a Jazz Icon
It has been 27 years since the death of pianist/composer Thelonious Monk in 1982. He was never a fan of jazz-rock in the late ’60s and early ’70s, so I don’t think he would have found anything of interest in the smooth jazz movement that he’s missed since his passing.
Labels are something, though, that Monk knew all about. He has been credited in the 1940s with Charlie Parker and Dizzy Gillespie, among others, as being a founder of the Be-Bop style of jazz. The Swing era was slowly giving way to a new sound that could be found uptown in Harlem, New York. Minton’s Playhouse was one of the few clubs that played this new music and Thelonious was the house piano player there. Monk has acknowledged earlier stride piano players like James P. Johnson and Art Tatum as influences, and loved Duke Ellington, but his notes and chords didn’t always follow their established patterns. He was called a lot of things early in his career; few were complimentary. Fake, fraud and charlatan were used to describe his unorthodox style of playing. It bothered him, but he just kept on writing new tunes in his bedroom as his reply. After he secured a recording contract with Blue Note records in 1947, things got a little better—he was now referred to as eccentric, mysterious and even mad. Monk was labeled for several different reasons; the swing era fans and critics didn’t understand what he was up to and simply claimed he couldn’t play. His record company was trying to push him as a strange artist to create added interest, and mostly succeeded because he was eventually known as Mad Monk, or The High Priest of Be-Bop. All of this is expertly written about in Robin D.G. Kelley’s new book, “Thelonious Monk—The Life and Times of an American Original.”

Kelley has spent the last 14 years researching and writing this biography with the indispensable help of the extended Monk family. A historical work that encompasses not only the Jim Crow South of North Carolina where Monk was born in 1917, but one that illuminates his music throughout one of the most tumultuous periods of American life. I found it fascinating to read how Monk began a long residency at a club called The Five Spot in Manhattan’s Lower East Side in 1957, which soon became the jazz center of the world. The Five Spot was a rundown writers’ and painters’ hangout where you could find Kerouac or Ginsberg rubbing elbows with DeKooning and Jackson Pollock. The Beats and the Abstract Impressionists loved jazz; it was “in the moment,” just like their work. The improvising jazz musician spontaneously heading off into a new direction and breaking established forms was something they were already familiar with.

Monk’s recorded legacy is detailed in this comprehensive book, from his first sides to his final composition. The most consistent criticism by others in the 1960s about Monk was that he didn’t write many new songs. Even though he became better known (including a Time magazine cover in ’64) and played to bigger crowds later in his career, the real diamonds he had created and polished as a composer were mostly from the 40s and 50s. All the various medical problems that plagued Thelonious throughout his lifetime are also described, as well as the medications and treatment he received. The curious may just want to read about him dancing around in circles like a whirling dervish, but Monk had a complex personality that is dealt with here in a straightforward way. Robin Kelley should be applauded for such a fine effort, and Monk fanatics will be in heaven with this new treasure trove of inside information on his life. If you are unfamiliar with his work, this is certainly an excellent place to start.

My favorite anecdote in the book occurred in December of 1971, when Monk and his wife Nellie went to see The Duke Ellington Orchestra at The Rainbow Grill in Rockefeller Center, New York City. The band was in full “swing” as Monk walked toward a table to sit down; Duke eyed him from the stage and immediately cut the band off in mid song and approached the mike. “Ladies and gentlemen, the baddest left hand in the history of jazz has just entered the room, Mr. Thelonious Monk.” Monk stood there smiling at Duke as the crowd gave him a long ovation. Thelonious had started taking piano lessons at the age of 11 in 1928. After 43 years of people telling Monk how he sounded, the great Duke Ellington had just given him his ultimate compliment. On this night, Thelonious Monk didn’t mind being labeled at all.

Jim Webb
webbjuice@comcast.net

Survey results
Last month, we conducted a survey asking your preference for a local appearance. The votes are in: Taos wants The Black Angels (but you’re not getting them.)

The Fall; A Few Loose Ends

THE SECRET MUSEUM:

Ten CDs By The Fall You Should “Visit” Before You Die: A Luggage Seller’s Guide

Without any kind of guide or map, this would be quite a daunting journey, since there are currently 99 releases by The Fall to encounter when you include various compilations, studio and live CDs. The Fall are a rock band that were formed in Manchester, England, in 1976, and since their inception have consisted of songwriter/vocalist Mark E. Smith (who is from nearby Salford, an important distinction) and whoever else he lets play and drink with him. While the band’s sound does change significantly at times through the years with these shifting line-ups of musicians, here is a brief quote from Mr. Smith to clarify his position as the central cog in this revolving-door aspect of group membership. “If it’s me and your granny on bongos, it’s a Fall gig.” A small cottage industry on books about Mark Smith and The Fall has developed in the last few years, but none of them specifically tells you what stops are crucial for a successful musical pilgrimage—and what areas you can bypass. I will break down possible itineraries into two categories: essential sites and interesting side trips, with a disclaimer for places to avoid.

Essential Sites: The first five years of the band from 1977 to 1982 will comprise a good hunk, but certainly is not all of the important terrain that must be covered. “Live at The Witch Trials” is their first LP that was released in 1979 and has all of their classic ingredients. Ranting vocals from Smith combine with musician’s Bramah, Riley and Burns to ensure a guitar driven sound that was remarkably tight for the evolving punk rock landscape. Bassist Steve Hanley and guitarist Craig Scanlon enter in 1980 and in quick succession, “Grotesque (After the Gramme”), “Slates” and “Hex Enduction Hour” become a must-hear part of The Fall canon. The Hanley/Scanlon axis adds slashing guitar and bass to at-times venomous lyrics from Mark E. Smith (M.E.S.). “Totally Wired,” “N.W.R.A.” and “An Older Lover,” as well as “The Classical,” rank among the finest tracks they ever recorded. This period holds the essence of their organized cacophony that other bands have frequently imitated, but never succeeded in duplicating. That correct blend of riffs, minimalist freedom and bile could only be directed by one M.E.S.

Another era of the band that must be checked out is the 1983 to 1989 period that saw the arrival of Laura Salenger. After marrying Mark, Laura was known as Brix Smith, and her influence and overall style coincided with the band focusing on tighter song structures and not sounding quite as shambolic. U.K. singles such as “Victoria,” “Ghost In My House” and “Mr. Pharmacist” gained some airplay, and it looked like The Fall might finally break out of their cult status. My personal favorite from this period is “This Nation’s Saving Grace,” which is from 1985. Other travelers that have explored this region hold “Perverted by Language” (1983) and “The Wonderfull and Frightening World of The Fall” (1984) in equally high regard. Moving forward, the early ’90s found the band unsettled with all of its constant personnel changes, including Brix leaving both the band and Mark Smith. The overall songwriting seems to have lost its consistent edge, and not until the “Real New Fall LP” of 2003 is released does the band find itself on totally solid ground again. The constant changeover in band personnel at this time now seems to have given Mark a new transfusion of energy, and the song “Theme from Sparta F.C.” shows that they collectively still know how to kick ass. The easiest way to follow this crooked path that we have traveled so far would be to purchase the 6-CD box set, “The Complete Peel Sessions 1978–2004.”

Interesting side trips off the main road should include the 2-CD set, “27 Points” (1995)—a solid, mid-period live document—“Levitate” (1997) and “Unutterable” (2000). These last two studio releases have some strong moments and find M.E.S. changing the drum rhythms, leaving behind well-worn patterns and even allowing a few synthesizer parts into the tunes. It is reassuring to note that the 50-year-old Mark E. Smith hadn’t lost any bite with the band’s 2007 effort, “Reformation Post TLC,” or on “Imperial Wax Solvent” (2008). After 30-plus years of bringing his songs to life in recording studios, Smith is still a master at keeping things interesting. His success has always been based on not just taking the roads less traveled, but about following his personal muse, no matter what the consequences or where it might lead him.

We have to talk about the places to avoid with The Fall. Due to some financial difficulties, Mark wound up selling a variety of live tapes and studio out-takes to different labels for a quick infusion of cash to keep the whole operation running. Titles that fall into this category include “Fiend With Violin” (1996), “Oswald Defence Lawyer” (1996), and “Cheetham Hill” (1997). “Are You Are Missing Winner” (2001) just doesn’t have much to offer in the way of songs or performance, and the subsequent live tour captured on “2G+2” (2002) is equally uninspiring by Fall standards. Having said all that, keep in mind that if you get lost and wind up at any of the above places, you are still in a more interesting location than anywhere John Mayer, Keith Urban or Chris Botti are playing.

If you decide to follow The Fall on tour, I would recommend you purchase a quality piece of luggage that can withstand such an arduous journey. The Briggs & Riley Transcend 21.5-inch carry-on model (TD-U521X) is durable, has a lifetime warranty and gives you enough room for your clothes, iPod, laptop and external speakers. Whenever you decide it’s appropriate to finally have The Fall Experience, be sure to give yourself enough time to do it right. One week is not nearly enough—like an excursion to any faraway country, you’ll need extra days to just get acclimatized to the new sonic landscape. Anything written about The Fall should at least have a brief mention of their biggest supporter, the deceased legendary British radio DJ and Fall fanatic, John Peel. John was playing songs from one of The Fall’s new releases at the time on his show, and afterwards simply said, “They are always different, they are always the same.” This is still a perfect description for a band that continues to defy classification. Don’t hesitate to bring your Granny, along with her bongos—not only will she enjoy The Fall’s music, but she might even wind up playing onstage. Have a safe trip.
-Jim Webb
webbjuice@comcast.net


Apropos Nothing: A Few Loose Ends

Ten most played French Pop tracks, according to my iPod (as of November 29):

01. Serge Gainsbourg - 69 Année Érotique
02. Brigitte Bardot - Je Voudrais Perdre La Mémoire
03. Keren Ann - Deux
04.Coralie Clément - À L’occasion Tu Souris
05. Françoise Hardy - Ton Meilleur Ami
06. Jacques Dutronc - Le Responsible
07. Julie D - Aiko-Aiko
08. Sylvie Vartan - Si Tu N’existais Pas
09. Aline - L’education
10. Jacques Brel - Il Peut Pleuvoir

“Chestnut Mare” is the last great Byrds song. Written by Roger McGuinn and Jacques Levy, it’s a retelling of Peer Gynt’s opening act—except in this version, a horse takes the place of the reindeer. The narrator, Gene Tryp (I presume) is, like Gynt, something of a bullshit artist. The difference here, though, is that Peer Gynt didn’t fall in love with the reindeer. And that’s what makes “Chestnut Mare” a horse of a different stripe.

Twenty most played Class of ’77 UK “I call it Punk” tracks:

01. Doll By Doll - Teenage Lightning
02. The Clash - Janie Jones (demo)
03. Monochrome Set - Love Zombies (Peel Session)
04. Wreckless Eric - Waxworks
05. Scars - Aquarama
06. Damned - I Fall (live)
07. The Fall - Bingo-Master’s Breakout
08. Outsiders - Calling On Youth
09. Sham 69 - The Cockney Kids Are Innocent (live)
10. Tonight - Stroll On By
11. Undertones - Hypnotised
12. X-Ray Spex - I Am A Cliché (demo)
13. Buzzcocks - Why She’s A Girl From The Chainstore
14. The Jam - All Around The World (live)
15. Madness - E.R.N.I.E.
16. Stiff Little Fingers - Breakout
17. Magazine - Recoil
18. Ruts - You’re Just A …
19. Sex Pistols - Holidays In The Sun
20. Slits - Love & Romance

Not very inspiring, I know, but that’s what the iPod says.

Dearly Departed
A number of talented people checked out this year, and I can’t say I blame them. The following list contains those whom I consider important to my own musical education. Yes, that includes Beatrice Arthur. May they rest in peace …

January: Ron Asheton, Steve Edgson, Dave Dee, John Martyn
February: Tom Brumley, Lux Interior, Jorge Reyes (for Jim), Estelle Bennett
March: Kent Henry, Uriel Jones
April: Bud Shank, Randy Cain, Bea Arthur
May: Clive Scott, Uli Trepte
June: Sam Butera, Hugh Hopper, Bob Bogle, Seething Wells, Sky Saxon
July: Drake Levin, Twyla Herbert, Gordon Waller
August: Willy Deville, Rashied Ali, Ellie Greenwich
September: Bobby Graham, Mary Travers
October: Robert Kirby, Dickie Peterson, Al Martino, Vic Mizzy, Soupy Sales
November: Jacno, Al Alberts

My favorite Fall LP is still Dragnet.

Survey
If you had your choice of seeing one of the following in Taos, whom would you choose?

01. Roky Erickson
02. Calexico
03. The Black Angels
04. Tony Joe White
05. Circle Jerks
06. Holly Golightly
07. Jackie Leven
08. Acid Mothers Temple
09. Ozric Tentacles
10. The Sonics

Please email your selection to manbys.head@yahoo.com or add a comment here.
Happy Holidays!
Michael Mooney

Editor’s Note: Jim Webb and Michael Mooney go back to the same ole ’hood in Philadelphia. Snows came and melted, planets danced in choreographed spatial arcs in such a way that Jim found himself living in Santa Fe and Michael living in Taos. Both, truly diehard music fans, write of music appreciation and music history that speaks to nourishment more than entertainment. Stay tuned and enjoy.