recommended gigs

Thursday Jan 31 - Atomic Video Jukebox at the Double Down

Friday Feb 1 - the New Waves at the Golden Tiki
Friday Feb 1 - Water Landing 5 year anniversary show with the Implosions, Not a Robot, Jinxy Bear at the Double Down
Friday Feb 1 - LV Blues Society Monthly Jam a the Sand Dollar

Sat Feb 2 - TV Party Tonight presents Mad Max for its 40th anniversary followed by Dead at Midnight, Merry Widows, Six Silver Bullets, No Que No at the Double Down
Sat Feb 2 - the Dirty Hooks with the Acid Sisters at 172
Sat Feb 2 - Shanda and the Howlers at the Golden Tiki

Sunday Feb 3 - The Hypnotiques at the Golden Tiki
Sunday Feb 3 - the Burly Q Revue with live music by Johnny Zig and the Force at the Double Down

Monday Feb 4 - Thee Swank Bastards at the Golden Tiki

Wednesday Feb 6 - Franks'n'Deans Weenie Roast at the Double Down with guests Monkey
Wednesday Feb 6 - Pine Hill Haints with the Unwieldies and the All Togethers and special guest, JD Wilkes from the Shack Shakers at Backstage Bar and Billiards

Thursday Feb 7 - Jinxy Bear at the Bunkhouse

Friday Feb 9 - Los Lobos at the Golden Nugget

Saturday Feb 9 - The Swamp Gospel with the Implosions at the Huntridge Tavern

Tues Feb 12 - Nashville Pussy at Triple B

Thursday Feb 14 - TV Party Tonight showing My Bloody Valentine with live music by Stagnetti's Cock at the Double Down

Friday Feb 15 - the New Waves at the Golden Tiki
Friday Feb 15 - Sheiks of Neptune, Jerk, the Pluralses, the Deveros at the Double Down

Friday Feb 22 - the Unwieldies and the Wayside at the Huntridge Tavern

Saturday Feb 23 - the Psyatics at the Double Down
Saturday Feb 23 - Derv Gordon from the Equals at the Fremont Country Club

Friday Mar 1 - The Psyatics with Stagnetti's Cock at the Double Down

Saturday Mar 2 - Bootleg (all female band featuring Andi from the Creamers/Snap-Her) at the Dive Bar

Wednesday Mar 6 - Franks'n'Deans with Shamehole and Critical Miss at the Double Down

Thursday Mar 7 - Powersolo (insane Danish combo!) at the Bunkhouse

Saturday Mar 9 - The Peculiar Pretzelmen with the Implosions at the Huntridge Tavern

Sunday Mar 10 - the Reeves Brothers at Saddle'n'Spurs

Saturday Mar 16 - The Swamp Gospel with the Psyatics and Fur Dixon (ex-Cramps / Hollywood Hilbillys) at the Double Down

Saturday Mar 23 - Bluegrass Festival at

Saturday Mar 30 - Copycat Delux night, a tribute to the Cramps. hosted by DJ Xerox with the Swamp Gospel, the Psyatics, and Mizz Absurd at the Golden Tiki

Tues April 16 - Dirty R'n'R Dance Party presents Peter Egri (from Hungary), Eddie Clendening, Johnny 7 and more at 172

Saturday May 11 - The Swamp Gospel at the Double Down

Saturday June 22 - Bob Log III with the Swamp Gospel at the Bunkhouse

What have I forgotten? Lemme know

The Definitive Downliner Sect Singles A's and B's

The Downliner Sect were one of the original British blues/R'n'B bands of the early 1960's but they never garnered the fame'n'fortune of their contemporaries like the Stones, Yardbirds or even the Pretty Things. Most likely this was due to more primitive style, raw vocals and somewhat sick sense of humor. But, nonetheless, they were another essential combo whose influence is felt to this day and who continue to play shows!

Don Craine and company mined the same material as their peers, with tough takes on the likes of "Cadillac", "Roll Over Beethoven", "Beautiful Delilah" (some wild lead guitar work here!), "Shame, Shame, Shame" and "Green Onions" (pretty freakin' different without keyboard and with some frantic guitar solos). There's plenty of musical references to the likes of Bo Diddley, Chuck Berry and even the Coasters (their version of "Little Egypt" is one of their best numbers), as well as lots of self-references, like "Be A Sect Maniac", "Sect Appeal" (both Diddley steals) and "Leader of the Sect" (a twisted interpretation of "Leader of the Pack").

They get a lot poppier in "Find Out What's Happening" and "Wreck of the Old 97" (more high speed guitar here), wail on some harp in "Insecticide" (I guess that is technically self-referential, as well?) and then they become the premier death-blues band of the 60's with the tunes from The Sect Sing Sick Songs and more. The afore-mentioned "Leader of the Sect", the gruesome grave-robbin' (although I suppose it is "robbing" if you get in, rather than taken anything out) of "I Want My Baby Back", the fairly straight-forward blues of "Midnight", a couple of sick, 50's-styled ballads with demented vocals in "Now She's Dead" and "Waiting In Heaven Somewhere" (I hope they didn't think that they would get on the radio with this subject matter!), there's a vaguely country-ish "I Got Mine" ("Waiting..." was C&W-tinged, as well), a super quiet (mainly guitar and vocals, with the rhythm section mixed down very low), minor key ballad in "Bad Storm Coming", and then they get back to the business of wailin'-harp-led R'n'B in "Lonely and Blue".

"All Night Worker" is a great, upbeat R'n'B/rocker and "He Was a Square" is a hip garage riff-rocker. Probably the closest that the band came to a hit is their fuzztastic ode of unrequited love to a manikin, "Glendora" - swingin' beat, fierce fuzz guitars, one of their better lead vocals and super cool backing "heys!", "ahs" and "do-do's" along with great lyrics. If they had more songs like this one then they would have been a hit machine! That said, "I'll Find Out" is another fine garage rocker, though "The Cost of Living" has a bit more of a pop sensibility that, while not bad, doesn't really work - guess they were trying different styles at this point! They're back on point with the R'n'B, bass-driven raver "Everything I've Got to Give" (which the Tell Tale Hearts did to great effect in the 80's) and although it's not as great as the original, their cover of the Remains "I Can't Get Away From You" is solid and they close on a high note with the swingin' start'n'stop garage rocker simply titled "Roses".

This is a terrific collection and while the group was a bit too raw to achieve the hit status of some of their peers, the Sect were a force to be reckoned with and have left behind a heckuva legacy. Any 60's fanatic should acquire this one!

Maria Muldaur - Sweet Lovin' Ol' Soul

Maria Muldaur is, of course, best known for her sexy, soft-rock hit, "Midnight at the Oasis", but she has had a long career of quality music before and since then, starting in the early 60's and releasing literally dozens of records over the years. In this 2002 album, she channels the queen of the bawdy blues, Memphis Minnie, and covers a number of her tunes with the help of legends like Pinetop Perkins and Taj Mahal, among others. The result is an extremely well done homage that has a mix of old and new sounds and is as sensual as it is swingin'.

This record is primarily acoustic, in fitting with the material, and starts off with a Memphis Minnie number, "I Am Sailin'". Backed by a couple of guitars and mandolin (by Del Rey and Steve James), Maria croons'n'growls her way through this number with appropriate salacious swagger. Roli Salley joins in on bass for the bouncy,  mandolin-led "Long As I Can See You Smile" and fiddle'n'jug are added to the mix on the title cut, which also featured Taj Mahal on guitar, banjo and vocals. Taj duets with Maria on the suggestive "Ain't What You Used to Have", which is driven by barrel-house-styled piano, and then there is another guitar/mandolin Minnie blues, "Lookin' the World Over" before some emotive horns are added to "Empty Bed Blues", which is filled with almost single-entendres.

Lucille Bogan's "Tricks Ain't Walkin'" is a fairly self-explanatory acoustic blues followed by Minnie's great, impassioned "Crazy Cryin' Blues" and her "She Put Me Outdoors", which features the vocals and upbeat 12-string guitar work of Alvin Youngblood Hart. Pinetop Perkins, a real legend who was apparently in his 90's when this was recorded, comes in on bluesy piano for "Decent Woman Blues" and then Maria duets with Tracy Nelson for the call'n'response, unrequited advice of "I'm Goin' Back" before they call it quits with Tal returning for the gospel number, "Take a Stand".

The sound of this record and the musicianship is truly impressive - you really get the feeling and instrumental sounds of the old-time recordings but with better audio quality. Muldaur has practically made a career of being the sexy-songstress and this material fits her well. A really fun album that makes me want to pick up some more of her releases.

RIP Paul Whaley

ADIÓS A PAUL WHALEY (BLUE CHEER)
---
Unbelievably, I still cannot find an American article on the passing of Paul Whaley, the powerhouse drummer behind the seminal heavy metal band, Blue Cheer. It is pretty criminal that this band is not being celebrated and, although his passing is being mourned by innumerable fans, it is being ignored by the media.

Blue Cheer has been a major influence on me since I was a teen - my playing sounded like Leigh Stephens before I knew who he was! Their first two albums are essential classics.

The (International) Noise Conspiracy - The Cross of My Calling

This is the fourth and final record by the band and the second that they recorded with producer Rick Rubin, who does consistently get a great sound. Here they are much poppier than their previous releases (although they always had a pop element), and, as usual, they also stretch out into bits'n'pieces of other styles.

This is especially apparent in the opening cut, a highly psychedelic instrumental simply titled "Intro" that flows into the power-pop of "The Assassination of Myself" - certainly not the usual power-pop subject matter, but a great, catchy tune with some fine guitar work and almost Who-like drumming! Damned if they don't almost go into heavy bubble gum territory for "Dustbins of History" - driving rhythms reminiscent of "Mony Mony", swirling keys, jangly guitars and plenty of melodies. "Arm Yourself" has a bit of their old a-rhythmic, funky tempos, but still retains lots of melody, energy, hep guitars, cool vocals and a wild, old school organ solo. Some more sorta-kinda-odd time signatures in "Hiroshima Mon Amour", but an insanely sing-along chorus and a rare harmonica break! A ballad of sorts in "Boredom of Safety" with some neat slide work for coloring and an expert use of dynamics and a superb guitar lead, along with soulful vocals, followed by "Child of God", a powerful, minor-key, mid-tempo tune with a neat, 70's-styled, electric piano instrumental break - definitely bringing in some new sounds here - that builds in intensity to a wild conclusion.

Back with "Interlude", a funky, groovin', keyboard-led instrumental and then back to the work at hand with "I Am the Dynamite", a mid-tempo rock'n'soul stomper with hip call'n'answer vocals. Fuzz bass opens the tough-sounding, Bo Diddley beat of "Washington Bullets", there's some white-boy-soul, (I)NC style, complete with a percussion break and "whoo whoo's" in "Satan Made the Deal", "Storm the Gates of Beverly Hills" (love the title and sentiment!) is as much of a straight-ahead rock'n'roller as these cats do (nice "hey, hey hey's" too), they get downright punkity in "Black September" (albeit with keys and a beautifully insane, noisy guitar break) and they close with the title track, a heartfelt, tortured ballad that builds in instrumentation and intensity.

In the last few years I've gone from not knowing much of anything about this band to being one of their biggest fans. I wish I had dug into them while they were playing around. Really great, original rock'n'roll/funk/punk/noise/coolness!

George Alexander - Slow Death: My Life With the Flamin Groovies

The Flamin' Groovies brand of rock'n'roll knocked me out when I first heard Teenage Head and Flamingo back in the early 70's, thanks to fellow Gizmo Kenne Highland. This rockabilly-tinged, pure-ass r'n'r music was a bit of a breath of fresh air among the heavy metal, psych, folk, etc. going on (which I also liked) and I still listen to these records regularly. I dug their transition to a 60's-styled pop-folk-rock band, as well, even though it lacked the punch of the earlier records, it was still a good time and their live shows were super enjoyable. I have never known much about the history of the band so I was intrigued by this book from their bassist, George Alexander.

I absolutely dig his tales of the time with the band but unfortunately he intersperses the linear story with random hippie-ish/new-age-isms that, while I don't necessarily disagree with, are not especially unique thoughts and basically sound not much different than a discussion you might have while stoned with one of your friends. Again, not negative viewpoints, but they are completely unrelated to the story at hand.

It is a short book overall (and apparently self published, and looks it), so the brevity combined with his philosophical ramblings means that you do not get a lot of details regarding the band, which is lamentable. But I learned a few things, such as: I was unfamiliar with the band's time in the mid-to-late 80's where Cyril and George were the only original members and they were a four piece band with members that looked like they came from a hair metal group! Several other incarnations followed, with Chris Wilson rejoining and George eventually being ousted, among other changes. I saw them a number of years ago with Roy Loney, Cyril and Chris (not George and I don't know who the drummer was) but unfortunately, they were only ok, as they sounded under rehearsed. Who knows what other changes has happened since then!

In any case, the book, while it contains some interesting tidbits, is a bit of a disappointment. I hope that someone does a proper biography of the band and if someone already has, please let me know!

The Flesheaters - I Used to Be Pretty

The Flesheaters started out as an LA "super group" consisting of friends of writer/singer Chris D., including the likes of Dave Alvin and Bill Bateman of the Blasters, John Doe and DJ Bonebrake of X and Steve Berlin, from every roots band in town that needed a sax player! They all joined behind Chris to realize his vision of swampy/voodoo/hypnotic/blues/punk/blurt backing his street poetry/lyrics. This version only released one album in the day (A Minute to Pray, A Second to Die) and then Chris continued on with various other line-ups (musicians who weren't in other super popular bands so they could gig with him regularly), before moving onto the more acoustic-oriented Divine Horsemen and eventually doing some sporadic solo work and reunion shows. Now, the original line-up is back and everyone is older but even better than before and the result is pretty darn mind boggling.

I only have a few Flesheaters albums so I am not familiar with the entire repertoire but as I research their discography I believe that many, if not all, of the songs on this new record were previously recorded with other line-ups, making this a kind of "greatest hits" package with revamped takes on the tunes. This is certainly not a problem as it is terrific to hear these incredible musicians take on these hep songs.

Here, the combo starts things off on a slow, mellow-ish mood with Bonebrake's vibes opening "Black Temptation", a brooder that swings'n'sways as everyone comes in and builds to a captivating chorus with Julie Christensen (ex-Divine Horsemen) joining Chris followed by powerful instrumental breaks from Berlin and Alvin. "House Amid the Thickets" has a riff that is similar to the Downliner Sects' "Leader of the Sect" but has a darker groove and nice layers of sax/guitars/vibes that ebbs and flows as Chris sings of fallin' for the fuck-ups. A highlight of Forever Came Today, "My Life to Live" is no less powerful here than in its earlier, stripped down version, but benefits from the varied instrumentation. Chris voice, always rough'n'ragged, sounds particularly tortured on this one.

I absolutely love their take on Fleetwood Mac's (Peter Green's) "The Green Manalishi" - a primitive pounder with excellent dynamics that is fueled by Bateman's powerful drumming and is given a neat touch with the interacting riffs between Berlin's sax and Bonebrakes' vibes and a smokin', melodic lead from Alvin. It's obvious that Chris is a fan of the Sonics (who isn't?) and he steals the lick from "Have Love, Will Travel" for the anti-religion rant, "Miss Muerte", but adds enough twists'n'turns to it to keep it fresh and once again Julie joins in to fill out the vocals and Dave attacks his strings for the finale. An extended workout, "The Youngest Profession" reminds me a bit of a slow, stompin' Panther Burns number with amazing sax squonk from Steve Berlin - he really knows how to get every little bit out of his instrument, from sweet melodies to maddening noise - intertwining with more ferocious guitar work from Alvin.

"Cinderella" (the Sonics) and "She's Like Heroin To Me" (Gun Club) are actually the weaker numbers from this set to my mind as they don't really work for Chris' voice, even though Jeffrey (GC) had one of the weaker voices in the LA scene, it still had a certain something. Maybe the arrangements could have been changed a bit? I seem to think that there was a bit more variety in the live takes, though now I am not certain. But, the band is pretty smokin' behind both, regardless.

There's a simple but catchy up'n'down riff the helps to drive the upbeat rocker "Pony Dress" and "The Wedding Dice" is one of D's most memorable songs and this band wails on it mightily while Berlin does a fine job of replicating his earlier squonk! The closing number of the live set is the transcendent, creepy-crawl of "Ghost Cave Lament", an elongated soundtrack to D's gothic, almost Edgar Allen Poe-ish lyrics backed by waves of emotion from the group. An amazing climax to the proceedings!

Seeing this line-up live was a awe-inspiring experience and while no recording can truly capture that kind of magic, this is pretty damn close. This record is going to be one of the highlights of the year for me, I think!

recommended gigs

Friday Jan 25 - the Supersuckers with the Rhyolite Sound and the Civilians at Triple B
Friday Jan 25 - Le Dominiki with Leather Bound Crooks at 172
Friday Jan 25 - Thee Swank Bastards, Negative Nancys, Stagnetti's Cock at the Double Down

Saturday Jan 26  - the Gentlemen of Four Outs at the Golden Tiki

Monday Jan 28 - Thee Swank Bastards at the Golden Tiki
Monday Jan 28 - the Pink Spiders with Mercy Music and Leaving Springfield at Evel Pie

Wednesday Jan 30 - Thee Swank Bastards at the Double Down

Thursday Jan 31 - Atomic Video Jukebox at the Double Down

Friday Feb 1 - the New Waves at the Golden Tiki
Friday Feb 1 - Water Landing 5 year anniversary show with the Implosions, Not a Robot, Jinxy Bear at the Double Down

Sat Feb 2 - TV Party Tonight presents Mad Max for its 40th anniversary followed by Dead at Midnight, Merry Widows, Six Silver Bullets, No Que No at the Double Down
Sat Feb 2 - the Dirty Hooks with the Acid Sisters at 172
Sat Feb 2 - Shanda and the Howlers at the Golden Tiki

Sunday Feb 3 - The Hypnotiques at the Golden Tiki

Monday Feb 4 - Thee Swank Bastards at the Golden Tiki

Wednesday Feb 6 - Franks'n'Deans Weenie Roast at the Double Down with guests Monkey
Wednesday Feb 6 - Pine Hill Haints with the Unwieldies and the All Togethers at Backstage Bar and Billiards

Saturday Feb 9 - The Swamp Gospel with the Implosions at the Huntridge Tavern

Tues Feb 12 - Nashville Pussy at Triple B

Friday Feb 15 - the New Waves at the Golden Tiki
Friday Feb 15 - Sheiks of Neptune, Jerk, the Pluralses, the Deveros at the Double Down

Friday Feb 22 - the Unwieldies and the Wayside at the Huntridge Tavern

Saturday Feb 23 - the Psyatics at the Double Down
Saturday Feb 23 - Derv Gordon from the Equals at the Fremont Country Club

Friday Mar 1 - The Psyatics with Stagnetti's Cock at the Double Down

Saturday Mar 2 - Bootleg (all female band featuring Andi from the Creamers/Snap-Her) at the Dive Bar

Wednesday Mar 6 - Franks'n'Deans with Shamehole and Critical Miss at the Double Down

Thursday Mar 7 - Powersolo (insane Danish combo!) at the Bunkhouse

Saturday Mar 9 - The Peculiar Pretzelmen with the Implosions at the Huntridge Tavern

Sunday Mar 10 - the Reeves Brothers at Saddle'n'Spurs

Saturday Mar 16 - The Swamp Gospel with the Psyatics and Fur Dixon at the Double Down

Saturday Mar 30 - Copycat Delux night, a tribute to the Cramps. hosted by DJ Xerox with the Swamp Gospel, the Psyatics, and Mizz Absurd at the Golden Tiki

Saturday June 22 - Bob Log III with the Swamp Gospel at the Bunkhouse

What have I forgotten? Lemme know

Tiny Grimes - Five Classic Albums

I have to admit that I was not familiar with Tiny Grimes until I saw a Facebook post by guitarist-around-town Trevor Johnson (thanks!) and did a little research and found this inexpensive compilation. Combining his albums Blues Groove, Callin' the Blues, Tiny In Swingville, Big Time Guitar With Organ and Rhythm, Hawk Eyes and a few bonus tracks by the Swingville All Stars, this gives a good overview of the man's career and highlights some of the superior musicians he has worked with.

Tiny is a truly phenomenal guitarist with great tone and truly creative lines, and on these recordings he plays everything from Jump Blues, to R'n'B, to jazz/blues, to more "straight" jazz, with some ballads thrown in and, naturally, jazzy interpretations of standards. He doesn't hog the spotlight and the bands are fantastic - amazing keys (mostly Ray Bryant) and sax abound - with players like Coleman Hawkins (sax), Eddie Lockjaw Davis (sax), Art Taylor (drums), and many others.

I'm no connoisseur of jazz, but, as the saying goes, I know what I like and I always appreciate a talented guitarist. I dig a little of everything, but am a big fan of "hot", upbeat, swingin' jazz and there's plenty of that here, along with healthy doses of the blues, fine melodies and heartfelt playing - man, how can you not just feel the groove between a wailin' Hawkins and Grimes flyin' fingers? These sets are always a great deal for an economical capsulization of an artist's work. Fine, fine stuff here!

The Flesheaters with Mudhoney at the Echoplex, LA, Saturday Jan 19, 2019

Although we missed last year's Flesheaters' reunion shows with the original superstar line-up, we were determined to make it when we heard that they would be doing more shows this year and with a gig in our old stompin' grounds of Los Feliz on a convenient Saturday, off we went!

Although we had played the Echo before we moved, we had never been in the (literal) underground Echoplex, which was a bit tricky to find and had some serious security hoops to jump through, but once we got inside we found a very dark (again, literally) but comfortable rock'n'roll club with a capacity of 400-ish, a couple of bars, a real stage and a great PA with terrific sound!

Since it had been a while since we hit a show in LA, we spent a while finding friends and socializing so we missed a spoken word opening act, but what we saw and heard kinda reminded us of John Cooper Clarke from back in the day. The opening musical act, Mudhoney, was much harder to ignore and while neither of us were ever big fans of this grunge band, we both agreed that they sounded better live than on record and enjoyed their set, especially early originals like "Touch Me, I'm Sick". They're not much of a visual band, but still a good opener.

Of course, the original line-up of the Flesheaters was filled with LA luminaries - Chris D., naturally, he of the gruff voice and poetic lyrics, mostly known for his writing prior to forming this band, Dave Alvin, the flashy lead guitarist from the Blasters, along with his drum cohort, the incredible Bill Bateman, joined by X's John Doe on bass and vocals and DJ Bonebrake on vibes and percussion (along with Bateman, one of the best drummers in the world today), all aided and abetted by the best saxman in town (and Grammy winner!), Steve Berlin (who has played sax with nearly every early punk/roots combo in LA, including the hep Phast Phreddie and Thee Precisions). Just seeing all of this talent on one stage was pretty damn amazing - it's not often that you can see this many accomplished musicians in one place these days!

This line-up just released a new album, I Used to Be Pretty, a continuation of the group's heavy but hypnotic, dark punk-poetry sounds - simple riffs underneath Chris' street/smart lyrics. They pulled heavily from that record for the set, unsurprisingly, but also included songs from their previous records, as well as covers like the Sonics' "Cinderella", a re-vamped take on Gun Club's "She's Like Heroin to Me", Fleetwood Mac's "Green Manalishi" (all of which appear on the new release), and X's "Cyrano De Berger's Back" (I have to say that this one didn't work so well for his voice, in my opinion). The new record revisits "The Wedding Dice" and "My Life to Live" and also gives us "Ghost Cave Lament", the transcendent closing number.

Julie from the Divine Horsemen also joined the crew on vocals for a few numbers, Steve Berlin continues to amaze (he was incredible 30+ years ago and is even better now), Dave Alvin was always a fave guitar man and is stellar today (and appeared to "lead" the band through the set), Doe keeps the low end moving and, as I said, you can't get better than Bateman and Bonebrake on percussion.  What a line-up and what a set! See them if you can - I guarantee you won't be disappointed!

Dave Hill - So Here It Is

Slade, of course, was one of the leading glam bands in England in the early 70's, with a slew of good-time songs that were raucous rock'n'roll but also reminded one of pub sing-alongs (and they did some of those, as well). Dave Hill was the flamboyant lead guitarist/showman of the group and he tells his side of the story in this autobiography.

The book starts off very depressing as he talks about his mom and her mental health issues as well as general troubles at home followed by his his sister dying! He confesses to having depression issues himself and all in all, it is a bit of a downer.

But then he changes course and talks about his musical life and the encouragement he received from his parents. As a youth he plays in a few bands and eventually forms the N’Betweens which, after a few personnel changes, ends up corralling the members who would become Slade.

They work hard on the usual English circuit and in an odd twist they get a residency in the Bahamas, of all places - after doing a stint in Hamburg- and there the genesis of the group really forms and gels. It turns out that it was really a bit too good to be true but they eventually make it back home and start the slow journey to become a hitmaking pop group, with the help of ex-Animals Chas Chandler, hot off of his managerial work with Jimi Hendrix.

It took a couple of albums for them to feel their oats, but then they started a string of hit songs that was rarely rivaled in England. Like many of the glam bands, they could not transfer their British and European success to the States and when they tried, they lost their momentum back home. Funnily enough, he mentions an appearance on Midnight Special that they thought was lacking, but that is what made everyone I know in America a fan of theirs - I went out and bought Slayed! the next day!

In any case, there were a few years of ups and downs with a few more sporatic hits (including a couple in the States that I was never aware of - and a British TV appearance where he likens their fashion to the Long Ryders - I found it funny that he was even aware of this underground group!) before the band called it quits. Dave and drummer Don were not ready to give it all up, though, and so they formed Slade 2 and continued on and still play to this day!

He ends with another litany of health issues, which does bring things down a bit again, but throughout it all he does try to maintain a good attitude and he has a happy home life and is grateful that he can continue to play in the band.

Hill's writing style is quite conversational and while he's not exactly a gifted writer, he does keep one entertained throughout. Although it wasn't quite the fun'n'laugh-filled tale that I was expecting (their 70's interviews with the likes of Creem magazine were pretty hilarious!), it's still a nice journey back and I look forward to finding the other members' memoirs.

Jimi Hendrix - Valleys of Neptune

As I have said, this record is piece of a trilogy along with Both Sides of the Sky and People, Hell and Angels, as part of the continuing effort by Experience Hendrix LLC to release high quality posthumous material from this genius guitarist. This compilation mostly features the members of the Experience - Mitch Mitchell on drums and Noel Redding on bass and backing vocals - although Billy Cox does make an appearance or two and there are the occasional extra hangers-on adding some percussion and vocals.

While the versions are unreleased, a number of the songs are familiar to fans, including the opening "Stone Free", of course, but there are always variations on the theme - in this case, a different lead vocal, more harmony vocals, a changed solo and an extended ending. "Valleys of Neptune" is a unique song to this record, and it is a typical Hendrix sci-fi-themed number with several changes, although it sounds a bit unfinished - or simply, a little tentative in this form. Another one that was new to my ears, anyway, is "Bleeding Heart", an upbeat funky blues that was originally by Elmore James and sounds familiar to some of Jimi's other posthumous blues, but is pretty damn cool on its own merits and it has a couple of fierce lead breaks. Of course, "Hear My Train A-Comin'" has shown up in numerous incarnations over the years and it's always fantastic - love this Muddy Waters-ish blues! Jimi combines some Bob Dylan-esque lyrics to the riff-rocker "Mr. Bad Luck", which has had some variation released in the past, but this take is exclusive, and then we get an instrumental jam on one of their faves, Cream's hit, "Sunshine of Your Love", including a percussion break with Rocki Dzidzornu, the man who played congas on "Sympathy For the Devil".

Of course, any fan is familiar with "Lover Man", although this slow take is vastly different than any of the others that I have heard. "Ships Passing Through the Night" also appears to be exclusive to this release and is an interesting, keyboard-led jam that seems like it could have used a little tweaking, but is pretty hip regardless, especially the guitar work. Of course, "Fire" needs no introduction and this sounds like an Experience rehearsal with the main difference being extended solo sections - certainly not a bad thing when we're talking about the Experience! "Red House" was a constant in Hendrix' set and is always a treat, as Jimi lets loose on this basic blues with his stellar playing and this is followed by "Lullaby For the Summer", a very cool, upbeat jam that has elements that have appeared elsewhere, but is still great on its own, and it all concludes with "Crying Blue Rain", which, while the title comes from lyrics to "In From the Storm", it is actually a slow blues jam in the vein of "Hear My Train A-Comin'".

I'm a die-hard fan and there is not much that this man has done that I don't think it pretty incredible but even saying that, these new posthumous releases are damn well done, with quality songs and performances, even if some are kinda cobbled together. Well worth it!

Fuse - self-titled

Before forming Cheap Trick, Rick Nielson merged his band, the Grim Reapers, with Tom Peterson's (Toast and Jam) to create Rockford, Illinois' Fuse. This hard rock combo is a far cry from the power-pop sounds of Cheap Trick, even though Nielson contributed to a good portion of the original songwriting. Rick was playing mostly keyboards at this time with a hot-shot guitarist (Craig Meyers) wailing with some appropriately metal-ish (but good) leads and Joe Sundberg emoting some overwrought (technically good, but a bit overdone) vocals.

There's a bit too much progressive leanings for my usual tastes, despite the fact that there are parts that sounds like a cross of the Small Faces mixed with the Crazy World of Arthur Brown! If this was a slightly more Deep Purple (or, even better, more like the Small Faces or the Move) and less Uriah Heep, it might have succeeded.

Both Nielson and Peterson now completely disavow this record - hating pretty much everything about it, although Peterson primarily blames bad production - it really is not bad and has some interesting moments, but if these two hadn't moved on to fame and fortune with CT, I doubt that many people would be seeking out this album.

Jimi Hendrix - Both Sides of the Sky

Anyone who knows me or has read this blog knows that I am a huge Hendrix fan and have been since I first heard and saw him play (in films, unfortunately - I never got to experience him live). Although my sound is very different from his, he has been a major influence on me ever since I picked up the guitar and continues to be to this day, with his innovative use of feedback, wah and whammy. He literally changed the way that guitars are played in a way that no one has equaled since. Luckily for us fans, he was a studio geek who loved to jam with the tapes rolling and so there has been an enormous amount of posthumous releases - far, far more than the three "official" studio albums and one live LP from his lifetime. This record is being billed as the third of a trilogy including Valley of Neptune (have I really not reviewed this one? I find that hard to believe) and People, Hell and Angels. There's a terrific booklet included that has plenty of photos and details of all of the sessions compiled here.

Opening with the Band of Gypsies doing "Mannish Boy", this is a different take than the one on the Blues CD, although it is similar and is another example of Hendrix doing what he did best - updating the blues for the (then) modern age with astounding guitar work. "Lover Man" has seen many incarnations over the years and this is another rockin' take with the Gypsies followed by "Hear My Train A-Comin'", another original blues that has seen multiple versions and this is a fantastic, groovin' one with the original Experience and phenomenal playing by Jimi. "Stepping Stone", a fast-paced rocker, has popped up more than once and is given a strong treatment here with Cox and Miles. Then we get a real treat: Stephen Stills was a pal of Jimi's and they jammed together on occasion and here it culminated in an original from Stills named "$20 Fine". Stephen is singing (I loved his white-boy-soul voice) and playing organ while Mitch Mitchell drives the drums and Buddy Miles Express pianist Duane Hitchings adds flavoring to this hot, soulful tune. It's a shame that this hasn't seen the light of day (officially) before - it's pretty damn great!

"Power of Love" appeared in an edited version on the Crash Landing LP and the master tapes of various takes have been damaged, but this is another variation mixed by Jimi and engineer Eddie Kramer. Buddy Miles joins in again for a modification of the instrumental that was used on the Woodstock soundtrack (as "Jam Back At the House"), here simply called "Jungle". Another legendary guitarist, Johnny Winter, was also a jammin' partner of Jimi's and he pulls out all of the stops on his slide playing for a take on Guitar Slim's "Things I Used to Do". Jimi holds back on his guitar and lets Johnny roll while CSN&Y's drummer Dallas Taylor keeps a solid beat with Billy Cox. Jimi is back with his distinctive leads along with more old friends on "Georgia Blues", this time Lonnie Youngblood, a saxophonist that played alongside Jimi in Curtis Knight and the Squires, as well as drummer Jimmy Mayes, bassist Hank Anderson and organist John Winfield.

There's an early instrumental run through of "Angel", here titled "Sweet Angel", followed by a pre-CSN&Y jam with Stills on "Woodstock" with Stills on organ, Jimi on bass and Buddy's characteristic drums propelling it all. Strange hearing Stephen without the harmonies (and other instrumentation, of course), but this is a groovy track and sounds pretty terrific! Although little more than a song sketch, "Give My Love to Linda" is quite interesting with its hints of flamenco guitar and other unusual chords changes. Cox and Miles are tentative behind this quiet number, but it sure would have been cool to see how this would have developed, as the ending jam is quite something. The CD finishes with "Cherokee Mist", another experiment with Jimi interacting with himself on a Coral Sitar guitar mixed with his wah-wah and feedback work on a "regular" 6-string.

It will forever be frustrating that we will never know what Hendrix would have created had the fates allowed him to live, as he obviously had much more to give us. But these releases, however cobbled together, are amazing reminders of his genius!

recommended gigs

Jan 17,18,19,24,25,26 and Feb 7,8,9 - Puddles Pity Party at Cleopatra's Barge at Caesar's Palace

Friday Jan 18 - 5,6,7,8's with Shanda and the Howlers and the Implosions at Fremont Country Club
Friday Jan 18 - Thee Swank Bastards at the Double Down

Saturday Jan 19 - the Psyatics, the Jag Offs, K. Kilfeather, Anubis at the Double Down

Sunday Jan 20 - LV Blues Society jam at Saddle'n'Spurs

Monday Jan 21 - Thee Swank Bastards at the Golden Tiki

Tuesday Jan 22 - The Hypnotiques at the Golden Tiki

Friday Jan 25 - the Supersuckers with the Rhyolite Sound and the Civilians at Triple B
Friday Jan 25 - Le Dominiki with Leather Bound Crooks at 172

Saturday Jan 26  - the Gentlemen of Four Outs at the Golden Tiki

Monday Jan 28 - Thee Swank Bastards at the Golden Tiki

Wednesday Jan 30 - Thee Swank Bastards at the Double Down

Friday Feb 1 - the New Waves at the Golden Tiki
Friday Feb 1 - Water Landing 5 year anniversary show with the Implosions, Not a Robot, Jinxy Bear at the Double Down

Sat Feb 2 - Dead at Midnight, Merry Widows, Six Silver Bullets, No Que No at the Double Down
Sat Feb 2 - the Dirty Hooks with the Acid Sisters at 172
Sat Feb 2 - Shanda and the Howlers at the Golden Tiki

Sunday Feb 3 - The Hypnotiques at the Golden Tiki

Monday Feb 4 - Thee Swank Bastards at the Golden Tiki

Wednesday Feb 6 - Franks'n'Deans Weenie Roast at the Double Down with guests Monkey
Wednesday Feb 6 - Pine Hill Haints with the Unwieldies at Backstage Bar and Billiards

Saturday Feb 9 - The Swamp Gospel with the Implosions at the Huntridge Tavern

Tues Feb 12 - Nashville Pussy at Triple B

Friday Feb 15 - the New Waves at the Golden Tiki
Friday Feb 15 - Sheiks of Neptune, Jerk, the Pluralses, the Deveros at the Double Down

Friday Feb 22 - the Unwieldies and the Wayside at the Huntridge Tavern

Saturday Feb 23 - the Psyatics at the Double Down
Saturday Feb 23 - Derv Gordon from the Equals at the Fremont Country Club

Friday Mar 1 - The Psyatics with Stagnetti's Cock at the Double Down

Saturday Mar 2 - Bootleg (all female band featuring Andi from the Creamers/Snap-Her) at the Dive Bar

Wednesday Mar 6 - Franks'n'Deans with Shamehole and Critical Miss at the Double Down

Thursday Mar 7 - Powersolo (insane Danish combo!) at the Bunkhouse

Saturday Mar 9 - The Peculiar Pretzelmen with the Implosions at the Huntridge Tavern

Sunday Mar 10 - the Reeves Brothers at Saddle'n'Spurs

Saturday Mar 16 - The Swamp Gospel with the Psyatics and Fur Dixon at the Double Down

Saturday Mar 30 - Copycat Delux night, a tribute to the Cramps. hosted by DJ Xerox with the Swamp Gospel, the Psyatics, and Mizz Absurd at the Golden Tiki

What have I forgotten? Lemme know

RIP Lorna Doom of the Germs

Lorna Doom of the Germs has passed away
 ---
Once again, Fuck Cancer!

The Casbah's (San Diego) 30th Anniversary weekend bash with the Dragon, Uncle Joe's Big Ol' Driver, Deadbolt and Madly, Saturday Jan 12, 2019

The Casbah has been one of the premier places to play and to see bands in San Diego for 30 years now, with owner Tim Mays being involved in the scene for a number of years on top of that. My LA bands played in his establishments and were always treated kindly and fairly and we often gigged there with the Dragons, San Diego's own, home grown version of the Stones/Heartbreakers. We were heartbroken when we heard about the death of the Dragons' bassist, Steve, a true sweetheart of a man, and when we heard that the band would reform for this celebration, we jumped at the chance to see the group again and give a toast to Steve at the same time.

We got there plenty early because we knew that the night had sold out and wanted to see everything that the night had to offer. First up was a group that I had never heard of called Madly, a female fronted combo that had a commercial 90's sound. Not something that connected with either of us, but I'm sure that they were part of the scene back in the day.

Out back, by the outdoor bar, the "Scariest Band in the World", Deadbolt, claimed a "stage" area and put on a set of their dual-bass-led, frightening surf sounds, accented by performance pieces like shooting off sparks, karate demonstrations (breaking a board), synchronized moves, audience insults, bad taste jokes and more. Always a good, Halloween-ish time with their hits like "Voodoo Billy Man", "Who the Hell is Mrs. Valdez" and plenty of others. They had a sit-in drummer for the night and he did a great job, even if he wasn't always sure when to stop the song!

Back on the main stage we got Uncle Joe's Big Ol' Driver, an awkwardly-named band that was big on the SD scene back in the early 90's and who mined similar r'n'r territory as the Dragons - kinda 70's rock mixed with punk, with a lot of dual, melodic guitar leads. They brought up the Dragons' string strangler, Kenny, for a song, where there was a three guitar lead-fest and they closed with a sloppy, anarchic version of "We're An American Band" - I guess their thing was to do 70's covers like this or Foghat! (Sorry that I didn't get any good pix - the floor was pretty packed for them).

After imbibing some liquid courage we did decide to stake a claim right up from for the main event and in doing so we missed a second set by Deadbolt - sorry guys! But from the moment the Dragons stepped on the stage - original members Mario (lead vocals/guitar), Kenny (lead guitar/vocals) and Jarrod along with Hector, the Zeros bassist filling in for Steve - we were transported back to a Dragons rock'n'roll party, even if the guys were all pretty much sober these days.

They had played the night before, as well, and I'm sure there were some variations in the set, but they did a number of their best tunes, like the classic "High" from their debut LP, Painkiller, "Loaded", "Whoa Yeah", "Three Steps to the Bar", "Sin Salvation" and a bittersweet dedication to Steve and others who have gone before us in their incredible "Fade" with its catch phrase, "I'd rather trip than slow down". Every minute on the stage was utterly wild'n'wailin', with Kenny shootin' off sparks with his insanely fast leads (always a pleasure to watch him play), Mario engaging the audience with his natural rapport and classic Les Paul, Jarrod poundin' the hell out of his drums - he has lost nothing over the years - and Hector holding down the low-end fort. For their well-deserved encore they did Steve's cover tune, "Bad Reputation" (fantastic, but it also tugged at my heart strings), a sloppy take on "Rock'n'Roll High School"(they were known for doing whole sets of the Ramones and the Stones) and a blastin' "Let It Rock".

Few bands could compete with the Dragons for pure rock'n'roll fever when they were firing on all cylinders and this night their were in top form. I always loved playing gigs with these terrific cats as well as simply experiencing their r'n'r abandon and I've certainly missed seeing this style of music in person. This was a wonderful throw back and a terrific way to celebrate 30 years of one of the best clubs on the west coast. Here's to many more!

(Tim Mays, the man responsible!)