TS: Lone Justice or Cruzados or Drivin' & Cryin' or Green On Red or Del Fuegos or Jason & The Scorchers or Long Ryders or Bodeans?

The Flesh Eaters song you've got to hear is "Tightrope on Fire." I haven't heard it in years and don't know how to describe it but...

It's kind of like - it goes as far as early Springsteen goes. Except it's punk rock. It takes punk rock and it goes as far as early Springsteen goes.

Here it is. Just totally screamin' and great songwriting.

https://www.youtube.com/watch?v=bbZ58gIx7k4

Just found this guy who's more recent, but kind of belongs here I think. Even beyond a pretty solid Bowie cover (!) the stuff I've checked on Spotify so far is pretty intriguing.

https://www.youtube.com/watch?v=PN4_jssER78

I kinda feel like the Lazy Cowgirls belong in this thread - they started out straightforward punk rock, but got more and more roots-rock as they went on - had acoustic guitars on their last album, I'm Goin' Out and Get Hurt Tonight. And main man Pat Todd was one of the great working class lyricists of L.A. rock.

I forget which thread had all the Lone Justice talk in terms of them being a great/overblown 'real music' hope circa 1986 and all (and how ridiculous it looks now). Anyway this story about an archival release from 1983 digs enjoyably deep, and a second part to come:

http://music.yahoo.com/blogs/our-country/lone-justice-album-fresh-cowpunk-30-years-later-103815697.html

A fair amount of gilding lilies in terms of memories, I suspect, but hey (I kinda like McKee's attitude versus everyone else's -- especially Hedgecock saying that country is the "indigenous" music of Los Angeles, which, like, think about it, dude).

The voice McKee did have was that of a young Dolly Parton, reincarnated while she still walked the earth and transmuted into the slender body of an 18-year-old Beverly Hills girl. Parton herself came down to one of the group’s earliest club shows and offered her seal of approval — something she repeated 30 years later when she contributed an endorsement for the new album’s liner notes, calling McKee “the greatest girl singer any band could ever have.” Of the night Dolly came down, McKee says, “I remember it was on the evening news when it happened. That’s how unusual it was. And there was nobody there, but she was there, in the front, yelling and screaming at me!”

Here it is; Past Critics' Darlings Re-evaluated as Duds?

Yeah, love that Parton story. And thanks for finding that!

Thanks for all these updates! Don't think I've prev. linked my 2001 cosmic cowgirl round-up, wich talks about McKee's Hollywood background, incl. big bro Bryan MacLean's influence: his own music for Love and after, also he got her into Broadway albums---think those who expected a New Traditionalist/alt-country Joan of Arc had no idea: http://www.villagevoice.com/2001-05-01/music/alias-in-wonderland/

Overdid the McCaslin though. The Mckee song "Panic Beach" I describe in there got the Dixie Chicks foresisters so excited about young unknown Natalie Maines, when Daddy Lloyd played them her audition tape.

We should mention (a) McKee scored a #1 hit in England with "Show Me Heaven" and (b) I hear McKee in Neko Case, and not to McKee's credit.

re(b): how so?

Neko Case also a big-voiced artist whose marketing has little bearing on what she is: Lone Justice-style slick rock.

Belters both. Neko could do "Wheels."

Meanwhile:
https://www.youtube.com/watch?v=mrLph5vW7BU

Belters both, yeah, and pop elements, but their broody, restless, sometimes woolgathering lyrics tend go against the grain of "slick-rock" per se---increasingly so on the post-LJ albums I've heard (which, in the piece, have me thinking of Ziggy Bowie) def on several Case albums, incl The Virginian, Furnace Room Lullabym and The Worse Things Get.

Thanks for the Green On Red.

Thread revival reminded me a piece I wrote a few years ago on the positioning and marketing of these mid eighties bands.

I saw Lone Justice twice, both times opening for U2. The first time, in early 1985, they were booed before they even started playing. Even a raging cover of "Fortunate Son" didn't lessen the boos.

The second time was in 1987, around the time "Shelter" was a near-hit. They just got polite applause.

I thought their first record was OK, but McKee's Life Is Sweet towers over everything else they/she did (with the possible exception of "Non-Religious Building" on High Dive, easily the most effective and/or hilarious Who pastiche of the last 25 years).

Robbie Robertson didn't do poor Maria any favors in the last minute of this video. It's a tough watch...

http://m.youtube.com/watch?v=4KP9PNSUME4

Yeah, on Rolling Reissue, Tarfumes and I were talking about the hazards of opening for young U2 and their multiplying multitudes (Pylon's Randy Bewlay: "It was like touring with Jesus Christ").

The weird thing is, supposedly the Red Rockers -- who opened for them the night before -- were warmly received. wrt Lone Justice, I suspect the Chicago crowd thought this "country music" was strictly cornballsville, hence the booing.

But why did they give Pylon so much trouble, at several shows? Zealous converts to B.O.N.O., mebbe.

Pretty sure even REM got a rough time on a U2 led bill in 1985

well, yeah. The hair!

That doesn't sound right? R.E.M. sort of swore off opening for big bands after they toured with the Police around '83.

Pretty sure R.E.M. opened for U2 in Europe in '85, though.

And now that I remember it, I saw the BoDeans open for U2 in 1987 also. They weren't booed. They should have been.

I saw Lone Justice open for U2 on the Joshua Tree tour in East Rutherford. They seemed good but the sound was godawful.

Next time I saw them, the Pixies opened, a few months before they broke up. Last time it was Interpol, who are not a daytime stadium show band.

This Is Lone Justice: The Vaught Tapes 1983--blasting their club set in a good li'l studio. No stereo-typical 80s glitz; like the booklet says, "quick and dirty," never blurry, though a few of the originals could use more well-thought-out trad lifts/folk process, a la "Soap Soup And Salvation," which makes well-timed use of "When The Roll Is Called Up Yonder" without getting mawkish; good speedy, confident cover of "Jackson" too. "This Is World Is Not My Home" goes from Carter Family/Woody G. rumination to poignant-with-a-beat "Soap"-style convocation to whooo, ready to meet them angels with sum white line fever (this would be the punkabilly or cowpunk, I take it).

Oh yeah, and Common Ground: Dave Alvin & Phil Alvin Play and Sing the Songs of Big Bill Broonzy turns out to be surprisingly lively-- not because of Phil's health probs, but mine: I was bored dead by a box of BBB several years ago. Phil's in fine voice, Dave sings okay, and of course plays his ass off, but only to enhance the material, as well he might. Gene Taylor tickles the ivories, and---although guests like LJ's Don Heffington also keep the rhythm section reet---can't help wishing they'd gotten Bazz and Bateman (who have often been live Blasters with Phil) back in there. But making it a full-fledged Blasters album---suggested title: Broonzy--- might bring back a lot of bad blood, which even seemed like it might bubble up in a couple moments of P&D's recent and v. brotherly Fresh Air interview. Common Ground AKA Truce, eh? I'll take it.

Lone Justice or Cruzados or Drivin' & Cryin' or Green On Red or Del Fuegos or Jason & The Scorchers or Long Ryders or Bodeans?

Alex, What is Mitchell Froom?

I love this thread. Probably the best of the lot is the first Maria McKee (Can't Pull The Wool Down, Drinkin' In My Sunday Dress), and the Essential Vol. 1 Jason mentioned upthread, though I'll admit to a fondness for the Del Fu-e-gos Slash debut. Just recently decided Gas, Food, Lodging is vastly overrated, and a get re-acquainted with Drivin'n'Cryin didn't turn out so well either.

I'm most likely to listen to those weird Latin Playboys records these days anyway.

Common Ground: Dave Alvin & Phil Alvin Play and Sing the Songs of Big Bill Broonzy

i've seen phil and dave play this stuff live twice this year. full-band electric set at sxsw was loose and fun if not great. mostly what i remember, from my perch pretty close to the stage, was that phil looked 90 years old but sounded 30 years old. that voice of his is protected by the good lord. in los angeles a couple weeks ago, at one of gary calamar's mimosa music brunches in north hollywood, they played acoustic, just the two of them, and it was fantastic. i'm pretty sure it was the first time i've ever seen dave play an acoustic live (mostly a national steel) -- he's good at it, needless to say -- and certainly the first time i've seen either of them before noon. dave sang more than i expected (and more than i probably would've liked) but the years have been kind to his voice, too. there's more voice there than there used to be. the songs worked great in that setting. also, not surprisingly, the alvins have no idea what mimosas are.

Yes...Latin Playboys records are great. Mustard from the 2nd album could be a hit.

also, not surprisingly, the alvins have no idea what mimosas are.

I kinda love this detail.

Two Green on Red items:

http://blurtonline.com/feature/college-rock-chronicles-pt-4-green-red/

“I was in a band that got thrown on the bill with these ‘Paisley dudes,’” recalls Prophet, of his initial encounter with the band. “My first impression was they looked like guys who should be operating the rides at a carnival. They played and it blew my mind! It was chaotic as hell, but really entertaining and musical, and the songs were there.”

Also, have had this as a bootleg on vinyl since high school, just found the video recently:

https://www.youtube.com/watch?v=ixKJq3F4lXo

Dan Stuart was only in his mid 20s during the GOE mid 80s peak?

He seems a lot older

Actually a lot of these people seem older than the Husker Du/Replacements/Minutemen crowd, even if they really werent at all.

GOR = Green on Red

Word from Chuck P.:

-------------------------------------------------------------------
CUT ALONG DOTTED LINE

Hello Trolls, haters, lovers and players,

It’s a party and we’ll cry if we want to. As you have no doubt heard by now Yep Roc will be releasing our new LP, Night Surfer, on CD, cassette and (yes, yes, yes… vinyl too!). RELEASE DATE: September 23rd, 2014.

To celebrate, we’re throwing a private little get-together happy hour party in San Francisco for the insiders who subscribe to this newsletter.

Here’s the deal: The first 50 people to sign up will be our guests at a secret location in San Francisco. Free drinks on us, people! We’ll also have some guitars and drums on hand so who knows? We might even be nudged into playing some music. Hope you can be there when the deal goes down. Next Wednesday Sept. 24th 5-7 PM. Here’s the sign up link: http://tinyurl.com/mkyhjwb

Until then, you can stream our new "jamming, occasionally neurotic" album at Esquire Magazine: http://www.esquire.com/blogs/culture/chuck-prophet-night-surfer

And in other news: For those of you spread out around the globe, John Murry and I will be on Radio Valencia live. Spinning tales and LP’s and taking calls too. You can call the studio line and listen along to the uncomfortable silence of dead air as the DJ tries to figure out how to get you on air. HERE: 415-962-7979

Seriously, John Murry and I will be opening the lines to our souls on the show. Literally. You can just pick up the phone and call. We’ll be there for you. Whatever is wrong in your life, we will attempt to fix. We will also make fun of you if you call and are utterly disinteresting. There's no greater sin than being a tacky bore. It ruins every dinner party. Look, we just wanna talk, dig? We come in peace. Call us for assistance or spiritual guidance or to attack us or try to win an argument (or start one between us). Or just to tell an entertaining story. Goddammit, talk to us! On the air! Okay? Here are the deets: Sunday night, sept 21. Show is from 10 til midnight. Special thanks to our host Jim Granato for inviting us down to the new Radio Valencia Studio in the heart of San Francisco’s Mission District. It’s gonna be good: http://radiovalencia.fm/waxcracklepop/

In other news our Newcastle show is still very much on. Note the cluster-lunch of gigs below. It’s our little attempt to re-create a Black Flag van tour circa 1983. How are we doing so far?

Always,

-CP

Oops sorry, here's the gigs of which Prophet speaks:

http://chuckprophet.com/gigs/

I forgot that I used to have a Maria McKee solo record. maybe even two of them? I think they were good.

You Gotta Sin to Get Saved is really really good.

seconded

From Nashville, not LA, but def adding to the tiny, out-behind-the-barn cowpunk pantheon: Jason & The Scorchers roll through Irving Plaza, live for local radio and recording for King Biscuit Flour or Flower Hour's syndicated source of so much liberated goodness. '84, "we just signed with EMI-American," fresh 'n' fuzztone-branded, slamming back and forth in the cattle car, with every song I can recall, except "Both Sides of the Line." Not too fast or slow, only 41'21 seconds, though intense enough that I had to take a short break halfway through, which is rare. Only prob: Jason's vocals are so wholesome, he sometimes makes zingers and sexual sour grapes come across like light breakfast materials, but doesn't misplace the caffeine, and certainly nails the stood-up "how could this happen to Meeee?!" of Kid D.'s "Absolutey Sweet Marie."
http://bigozine2.com/roio/?p=1975

I'm really enjoying this Scorchers show ... I can't believe I remember all those goofy lyrics. Seeing them in 1982 was a life lesson. This is a much more faithful representation of their strengths than any of the studio recordings.

Dan Stuart's testimony, reviewed on Amazon by Chuck Prophet (and others):

http://www.amazon.com/Deliverance-Marlowe-Billings-Memoir-Stuart/dp/0957171722/ref=sr_1_2?ie=UTF8&qid=1421286640&sr=8-2&keywords=dan+stuart

Green on Red, Raleigh '85:
Same source as the Jason & Scorchers set posted above, though not as consistent: they're having occasional mic problems, as they eventually mention, though it's most noticeable early on, although the playing is pretty straight-ahead. Only prob: almost an hour of mostly mid-tempo, and Stonesiness can slip into Pettyness, though I realize most people wouldn't mention TP in a negative sense. Vibier levels do open wider in "Down By The River" and "Sea of Cortez," back to back in the middle; ditto the locomotive finale, "Fading Away." Also good "Hair of the Dog" and others. Works better when the keyboards get more room, but some quite pertinent pickin' too. H'mmm, wonder what GOR Spotify might have? Oh yeah, the link!
http://bigozine2.com/roio/?p=2202

Speaking of the Scorchers, Warren Hodges is playing lead (for sure) with Drivin N Cryin om MusicCityRoots.com's livestream right now, also audio-only (cool on headphones) at http://www.hippieradio945.com/ Click on Listen live (or check podcast on musiccityroots. com tomorrow or soon)

MusicCityRoots.com's *livestream,* I meant to say

Livestream, dammit!

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THE TEXTONES’ FIRST TWO ALBUMS
— MIDNIGHT MISSION AND CEDAR CREEK —
TO BE REISSUED IN EXPANDED EDITIONS
BY OMNIVORE RECORDINGS ON MAY 26
Carla Olson’s ’80s band combined punk, power pop and Texas roots.
Albums feature guest appearances by Gene Clark, Ry Cooder,
Ian McLagan, and Howie Epstein,
plus co-write with former Textones member Kathy Valentine.
LOS ANGELES, Calif. — Taking the early ’80s L.A. club scene by storm, the Textones were respected by those in the know for both their song craft and musicianship, as well as for their groundbreaking hybrid of new wave and what would one day become known as Americana. On May 26, 2015, Omnivore Recordings will reissue expanded editions of the band’s first two albums, Midnight Mission and Cedar Creek.
The Textones released an EP in the U.K. and a single in the U.S. But it was after singer/guitarist Carla Olson brought in guitarist George Callins, multi-instrumentalist Tom Junior Morgan, bassist Joe Read, and former Dwight Twilley Band member Phil Seymour on drums to the lineup that the magic truly happened.
Signing to Danny Goldberg’s Gold Mountain label, the Textones’ debut album, Midnight Mission, encompassed everything they’d done, and took it a step further. Produced by Barry Goldberg and Brad Gilderman, and featuring contributions from Gene Clark, Ry Cooder, and Don Henley, Midnight Mission was a mix of rock, blues, and country that captured the band’s live energy. After Olson appeared in Bob Dylan’s “Sweeheart Like You” video, he offered up an unreleased song, “Clean Cut Kid,” which blended perfectly with the band’s originals.
This reissue features five bonus tracks — three songs recorded for the film Sylvester, as well as a two previously unissued live cuts from their performance on Rock of the 80’s, recorded in 1984 at the Palace in Hollywood.
Robert Hilburn wrote in the Los Angeles Times: “ Olson, a lanky singer and songwriter moves about the stage with the sensual confidence of Tom Petty ... Midnight Mission is a refreshing blend of American rock purity and clear eyes commentary ...”
Echoed Mikal Gilmore in the Los Angeles Herald-Examiner: “ A roaring and thoughtful delight. Workingman populism and Rolling Stones-style rave-ups ... Like Bruce Springsteen, Olson took an unsparing look at the dissolution of the American Dream and newly resolved. Listening to her, so did I.”

It would be three years before the Textones followed up their acclaimed debut, Midnight Mission. But, it was well worth the wait.
Cedar Creek appeared in 1987 on a new label, Enigma Records, and Carla Olson, George Callins, Joe Read, and Tom Junior Morgan were joined by new drummer Rick Hemmert.
Produced this time by Michael Stone and the band, Cedar Creek features nine originals, including a co-write with original Textone (and Go-Go’s member) Kathy Valentine, who left the group in 1981 to find fame with the Go-Go’s. And, much like its predecessor, legendary contributors like future Rock ’n’ Roll Hall of Famers Ian McLagan and Howie Epstein make appearances.
John Fogerty said of the song “No Love in You” (three versions of which are included amongst the two reissues): “ Not only is ‘No Love in You’ my favorite song of 1984 but I always look forward to driving somewhere so I can listen to it four or five times.”
In addition to the original album the oft-bootlegged 1987 performance from the Catalyst in Santa Cruz gets an official release. The blistering eight-track set features songs from both of the band’s albums. According to Olson in the new liner notes, “I don’t wag my tail much about this, but the Catalyst show is one of the best examples of how well I can sing when it all works. It’s some of the best singing I’ve ever done.”
Olson is excited to have this music out there once again: “ As the sticker on the original release of Cedar Creek announced, ‘Rock With Roots, the great Rolling Stones album the Stones never recorded.’ That kind of high praise was unexpected, especially in light of the similar response Midnight Mission received and its middling commercial success. It further stated, ‘Take a pinch of Austin, Texas, a dash of L.A., mix in commanding vocals and crackling guitars and you've got the perfect recipe for a classic album.’ We were ahead of our time or just didn’t get the breaks needed? An artist never knows. What I do know is that when the Textones played together we created a musical fabric never far from our many influences and diverse backgrounds and that the connection we felt between us was one of the joy of entertaining and the hopefulness of our music. We are glad the music is being made available again especially with the live set that we've added to Cedar Creek. We were one hell of a rock ’n’ roll band.”
Midnight Mission track listing:
1. Standing in the Line
2. Hands of the Working Man
3. No Love in You
4. Running
5. Number One Is to Survive
6. Midnight Mission
7. Upset Me
8. Luck Don’t Last Forever
9. Clean Cut Kid
10. See the Light
Bonus Tracks
11. It’s Okay
12. Just a Matter of Time
13. Number One Is to Survive (Alternate Version)
14. Running(Live)
15. No Love in You (Live)
Cedar Creek track listing:
1. Not Afraid
2. Every Angel in Heaven
3. Another Soul Searcher
4. One Love
5. Austin
6. Gotta Get Back Home
7. You Can Run
8. Cedar Creek
9. We Can Laugh About It
Bonus Live Set Recored at the Catalyst, Santa Cruz, Ca, 11/20/1987:
10. Gotta Get Back Home
11. Not Afraid
12. No Love in You
13. You Can Run
14. Austin
15. Upset Me
16. Every Angel in Heaven
17. Standing in the Line

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