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

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Gun Club!

scott seward (scott seward), Saturday, 15 January 2005 21:04 (sixteen years ago) link

Okay I think it's time to go listen to these bands, Scott.

martin m. (mushrush), Saturday, 15 January 2005 21:09 (sixteen years ago) link

""Soup, Soap, & Salvation" and "Long Gone Dead" would have been much better if the cramps had done them.

scott seward (scott seward), Saturday, 15 January 2005 21:15 (sixteen years ago) link

that's true of most records.

g--ff (gcannon), Saturday, 15 January 2005 21:22 (sixteen years ago) link

I've got to come down on the side of Green On Red over Gun Club, if only for Chris Cacavas' solo career. Though, "Fire Of Love" is easily the best album by any of these, let's face it, mediocre-at-best bands.


hector savage, Saturday, 15 January 2005 21:28 (sixteen years ago) link

off the top of my head:
Lone Justice > Del Fuegos > Long Ryders > Bodeans > Green On Red > Jason & The Scorchers = Cruzados = Drivin' & Cryin'

of these, though, the debut BoDeans album is the best. throw in gun club and i'd still think the same.

john'n'chicago, Saturday, 15 January 2005 22:04 (sixteen years ago) link

Lone Justice = the No Doubt of the mid 80s, only not nearly as good.
Cruzados = good gutsy mainstream rock from the ex-Plugz
Del Fuegos = total cack. Wimps (not a word I use often).
Bodeans = not bad, especially early stuff or live.
Green on Red = good players and decent songwriting but the guy couldn't sing for shit.
Jason & the Scorchers = good but not great. Too much gtr bombast.
Long Ryders = earnest to a fault. "Lookin' for Lewis aaan Claaaarke"
Drivin' & Cryin' = somehow I never heard 'em.

lovebug starski (lovebug starski), Sunday, 16 January 2005 01:32 (sixteen years ago) link

i confess that i pick on these people a bit cuz they were the great white hopes for rolling stone magazine in the 80's when the world was practically dripping with astounding sounds that that mag was doing its best to ignore. having said that, i do have a soft spot for "long gone dead". In 1984, if memory serves, my playlist consisted of: Knitters, Circle Jerks, Husker Du, Bauhaus, 8 Eyed Spy, Whodini, Youth Brigade, SSD, Crass, & the Grateful Dead. the knitters (by way of my love for x) and the dead were the only rootsrock i would allow myself at the time. i never felt like i was missing anything when these doods were around. i was suspicious of their fauxcornponecore.

scott seward (scott seward), Sunday, 16 January 2005 01:43 (sixteen years ago) link

what about the Del Lords? are they better than the Del Fuegos?

Stormy Davis (diamond), Sunday, 16 January 2005 01:45 (sixteen years ago) link

wasn't "long gone dead" by rank & file? my memory's shot...but you got that exactly right about Rolling Stone shoving these bands down people's throats back in the day. Some of 'em were OK, some were total hypes like Lone Justice. But to be fair, was David Fricke championing Long Ryders in 1986 any diff from Joe Levy plumping for the Strokes in 2003?

lovebug starski (lovebug starski), Sunday, 16 January 2005 01:52 (sixteen years ago) link

back asswards x post

the del lords WERE better than the del fuegos (though that might not be saying much). Their records suffered from Springsteen-itis but their early live shows around NYC were good as faux roots-rock gets.

lovebug starski (lovebug starski), Sunday, 16 January 2005 01:54 (sixteen years ago) link

I seem to remember Coley being a bit of a Long Ryders fan. Think he used to write about them in that Spin column o' his. But I might be misremembering.

Stormy Davis (diamond), Sunday, 16 January 2005 02:04 (sixteen years ago) link

Before the Knitters( members of X + Dave Alvin), or the version of X featuring Dave Alvin, try the original X (through first three or four albums) and first three or four of the original Blasters, featuring who? Daaave, and his brother Phil, who fueded like the Davies and the Fogartys or Fogertys and those Oasis dorks. Phil's first solo, UN "SUNG" STORIES (despite the title)has Sun Ra y Arkestra backing Phil, who's kind of a cross between Jimmie Rodgers and David Johansen (but not Buster Poindexter!), on Cab Calloway songs, for instance (other backing on other tracks; it all works). Lone Justice has nothing to do with No Doubt, no doubt, other than that both frontpersons are blondes and live in California. Gwen's tall and angular and kindervoiced and kinda good anyway, especially lately. Maria McKee got started a lot younger than GS, and is much shorter and somewhat rounder and has a big big melodious voice, suitable for Broadway and Gospel, Midler and Joplin too. A lot of LJ best approached in bargain bin, or wherever you might find to download it from. The production can be a bit too blaring, even for the 80s, mainly volume and echo (not so much cheesey programming though, so it really is relative-roots-rock!) She could always write songs, always had something to say (the Dixie Chicks do a good version of "Am I The Only One Who Ever Felt This Way?"). Her solo albums got better once she went glam, playing Mick Ronson guitar on her own Ziggyesque songs. Tootin' my own rusty horn, one more time: if the Voice archive is all the way up again, so is my "Alias In Wonderland," where I wrote about her better than this. I'd look for the pre-Cruzados Plugz ( rootzpunks, though, look out!) And the first couple of Jason and the Scorchers, and the first couple of Rank & Files. And those reissued Gun Clubs and Flesheaters, speaking of twisted roots). Yes, Rolling Stone tried to push LJ, but they've pushed a lot worse and some better and that particular push was a long time ago and I forgive them.

don, Sunday, 16 January 2005 02:17 (sixteen years ago) link

Was that Camper Van Beethoven song "Cowboys from Hollywood" a piss take on bands like the Long Ryders?

Tim Ellison (Tim Ellison), Sunday, 16 January 2005 02:25 (sixteen years ago) link

(It's on Camper Van Beethoven II and III.)

Tim Ellison (Tim Ellison), Sunday, 16 January 2005 02:30 (sixteen years ago) link

probably a pisstake on the whole "cowpunk" hype, and why not, although otsa good cowgirls and cowboys came from and in Hollywood and Camper's Lowery finally figured it out on Cracker's COUNTRYSIDES (nothing against CVB's own good stuff) and I shoulda spelled it "fueded" or my stupif keyboard should.

don, Sunday, 16 January 2005 02:32 (sixteen years ago) link

hahaha! i totally forgot to put rank & file in my thread title, and yes they were the ones who did long gone dead. i must have assumed that i put them in there.

"what about the Del Lords? are they better than the Del Fuegos?"

i was gonna put del lords in there too, and maybe the del vikings and del shannon and del tha funkee homosapien, but i didn't want to go overboard.

scott seward (scott seward), Sunday, 16 January 2005 02:36 (sixteen years ago) link

"Yes, Rolling Stone tried to push LJ, but they've pushed a lot worse and some better and that particular push was a long time ago and I forgive them"

awww. maybe i'm just a big meanie! why can't i let go?
i'm still smarting about that one star hayzie fantayzee review in 1981!

didn't gwen stefani start singing for no doubt when she was 15? how much younger was maria when she started singing pro?

scott seward (scott seward), Sunday, 16 January 2005 02:41 (sixteen years ago) link

If it's any consolation Hayzie Fantayzee would "no doubt" get three stars from RS in 2004.

lovebug starski (lovebug starski), Sunday, 16 January 2005 02:45 (sixteen years ago) link

Del Lords-ewww, and not even "country", whereas Long Ryders rule

Morley Timmons (Donna Brown), Sunday, 16 January 2005 03:03 (sixteen years ago) link

Tex & The Horesheads!!!

Marshall Stax (Marshall Stax), Sunday, 16 January 2005 03:07 (sixteen years ago) link

What about the Rainmakers?

I like the first LJ rekkid. Maybe because I had a crush on Maria McKee after seeing the "Ways to be Wicked" video, which prompted me to buy the album even though I'd never bought anything twangy before, so LJ represented a broadening of my palette (come to think of it, I also hadn't bought much by girl singers to that point, so score another for Maria). But there's about 5 songs on there I still like a lot.

I liked the Del-Lords' first album too at the time, but I have to admit that when I heard a track from it sometime last year the corniness was a little hard to take. Still like "I Play the Drums," though.

gypsy mothra (gypsy mothra), Sunday, 16 January 2005 03:37 (sixteen years ago) link

(also, Jason and the Scorchers' cover of "Absolutely Sweet Marie" is pretty great)

gypsy mothra (gypsy mothra), Sunday, 16 January 2005 03:37 (sixteen years ago) link

that first lone justice got a lotta play on college radio. it sounded kinda weird in amongst the new wave stars of the day.

scott seward (scott seward), Sunday, 16 January 2005 03:45 (sixteen years ago) link

do los lobos factor into this conversation at all?

Eisbär (llamasfur), Sunday, 16 January 2005 03:47 (sixteen years ago) link

or REM, for that matter?

Eisbär (llamasfur), Sunday, 16 January 2005 03:48 (sixteen years ago) link

"do los lobos factor into this conversation at all?"

yes, cuz they are better than all the rest combined. probably.

scott seward (scott seward), Sunday, 16 January 2005 03:55 (sixteen years ago) link

And REM? sure, why not. they had a certain je ne se twang early on.

scott seward (scott seward), Sunday, 16 January 2005 03:58 (sixteen years ago) link

Gwen was 15 when she started with No Doubt? Have they been around nearly 20 years, cos I've read several places that she's like 34? I think she's the one mentioning it too? Maria was 16 or 17. Gypsy, you forgot to mention you liked hearing her praise the kind of guy who's "not afraid to stick it in"! Or was that me that liked that? Los Lobos was on the same bills as X-Blasters-Plugz-Top Jimmy & The Rhythm Pigs (Top Jimmy was Jim Morrison at 35, literally: a *functional alcoholic, hiding in plain sight and singing the boogie). And probably on the same bill as Flesheaters, who early on included members of X and Blasters. I never heard their earliest stuff, but recall liking the one with "How Will The Wolf Survive?" which I think Waylon Jennings covered.

don, Sunday, 16 January 2005 04:42 (sixteen years ago) link

REM was more chimey than twangy. I never thought of them as part of that roots revival thing (apart from maybe "Don't Go Back to Rockville"). Seems like the Blasters might qualify for discussion, tho. (xpost)

Gypsy, you forgot to mention you liked hearing her praise the kind of guy who's "not afraid to stick it in"! Or was that me that liked that?

Yeah, that didn't escape my notice. Weird thing is that Tom Petty wrote that song. I guess he likes guys who aren't afraid to stick it in too...

gypsy mothra (gypsy mothra), Sunday, 16 January 2005 04:46 (sixteen years ago) link

Gwen Stefani was born October 3, 1969, in Orange County, California. Growing up in Southern California with brothers Todd and Eric -- where they were raised by parents Dennis and Patti -- Gwen was highly influenced by the rising popularity of ska and punk that was making its presence felt in the So Cal area.

Gwen's brother Eric started the band No Doubt with his friend John Spence in 1987, and asked the always effervescent Gwen to join on as co-vocalist with Spence. Tony Kanal joined the group a little later, and the trio began to gain popularity by playing at local parties.

But the party was over when Spence committed suicide in 1987, which left Gwen to move up the ranks to lead vocalist. The show must go on, and it did, as No Doubt continued to perform in local gigs. In the meantime, Gwen had graduated high school, and followed up her studies at Cal State Fullerton College.

scott seward (scott seward), Sunday, 16 January 2005 04:59 (sixteen years ago) link

So, she's thirty-*five ?! Eeeuuhh! 34's where I draw the line, I'm sorry, Ma'am. No, REM wasn't relevant at all; Jason aside, the 'cowpunk" thang was mostly L.A. and Boston, in the unsuppressed portions of my memories.(Well, the Last Roundup was from Pennsylvania, mebbe)

don, Sunday, 16 January 2005 05:25 (sixteen years ago) link

Peter Buck is wearing a bolo tie on the back cover of Murmur if I remember correctly, though.

Tim Ellison (Tim Ellison), Sunday, 16 January 2005 05:34 (sixteen years ago) link

No, I was wrong. They used to wear Future Farmers of America jackets, though.

Tim Ellison (Tim Ellison), Sunday, 16 January 2005 05:36 (sixteen years ago) link

The main barrier wasn't the jangle, but Stipe's nasality,which tended hella closer to James Taylor's than Bill Monroe's. Come to think of it, Gram Parsons hated to be known as The Father of Country Rock, specifically hated the Eagles, Poco, etc. He cited Buck Owens and the Stones as favorites, so could say the Father Of Cowpunk was a Southerner, even if his attempted offspring mostly weren't. Again, jaosn's the exception, especially since their cover of xposted "Absolutely Sweet Marie" sounded a lot lak uh bigger Gram (and Stipe co-wrote at least one of their good early songs, on that same EP or whatever it was with "Marie"!) Damn, Mary Lee of Mary Lee's Corvette is singing the shit out of "Idiot Wind" on Public Radio's "World Cafe,"at this moment. I wish they had kept doing her own songs, rather than covering the whole freaking BLOOD ON THE TRACKS, although maybe the rest of it's this good? Cowpunk kinda lives.

don, Sunday, 16 January 2005 05:53 (sixteen years ago) link

And there was the Joe Ely Band, touring with the Clash and recording LIVE SHOTS, with Natalie Maines's Dad Lloyd's steel guitar as extendtion of Lynyrd Skynyrd and the siren on "Highway 61" to boot (Dylan later had a guy who could do this, but much later). So there's yer Southern cowpunk too, still counting geezers.

don, Sunday, 16 January 2005 06:06 (sixteen years ago) link

I think Jason & the Scorchers was one of the best live bands i ever saw.It's a shame their music was overproduced in that lush 1980's kind of way & they ran out of songs after their second album but i still pull out "Fervor" & "Lost & Found" when i want some serious country punk.
As for Joe Ely Band anyone who saw these guys on the Musta Notta Got A lotta tour saw the West Texas version of Sprinsteen crossed with the Clash.
As for the rest (Green on Red,BoDeans,Del-Lords,etc all)None of them ever seemed really sincere.It's like they all sounded like they all sounded like local bar bands trying to do country.

evan chronister (evan chronister), Sunday, 16 January 2005 09:31 (sixteen years ago) link

The Georgia Satellites?

Tim Ellison (Tim Ellison), Sunday, 16 January 2005 18:57 (sixteen years ago) link

I liked the first couple of Jason and the Scorchers records quite a bit - picked up a best-of by them a few years ago, but can't find it now.

The Del Lords were pretty good, too - sort of right in between Springsteen and Robert Gordon (somewhat underrated himself).

Cruzados? Eh. But the first Plugz album, Electrify Me, is fucking mind-roasting. I still listen to it at least once a month - I gave a copy to Henry Rollins once, hoping he'd reissue it on CD through Infinite Zero.

pdf (Phil Freeman), Sunday, 16 January 2005 20:21 (sixteen years ago) link

It's like they all sounded like they all sounded like local bar bands trying to do country.

Well, the Del Fuegos were from Boston (if you'll allow me a little regional commentary of my own). There's a reason Jason and the Scorchers "got" country...

martin m. (mushrush), Monday, 17 January 2005 00:30 (sixteen years ago) link

i think the mighty los lobos bring this conversation (fun as it is) to a screeching halt.

eighties enough, Monday, 17 January 2005 00:39 (sixteen years ago) link

what about the Del Lords? are they better than the Del Fuegos?"

On record, not live. Saw both, had most of their records. Del Fuegos were a good to great live band - much harder, swinging and aggressive than their recorded material let on. Del Lords were always solidly mediocre but had a couple songs you could actually remember like the previously mentioned, "I Play the Drums" and "Judas Kiss."

George Smith, Monday, 17 January 2005 00:44 (sixteen years ago) link

if i remeber correctly, the cruzados, del fuegos and the long ryders were all used in Miller ads as props in their "American Made" campaign. mid- to late-80s sometime...

john'n'chicago, Monday, 17 January 2005 01:09 (sixteen years ago) link

xpost Evan otm, but also Joe Ely Band as "West Texas corss between the Clash and Springsteen," I'd add,"in their prime," cos some folks don't know Bruce had one (as with most of the acts on this thread, his early albums are best). The weird thing about Los Lobos is that they've been together forever, and they can and do *play anything, reall, but the singing and songwriting seem much more cautious. So, eeven live, I really like 'em, but it's like they're afraid the audience's heads will explode if they hit us with their full force. Maybe they're right.

don, Monday, 17 January 2005 04:46 (sixteen years ago) link

Green On Red are EASILY the best band of this ilk. From the early records which sounded like a spooked, desert-rock Velvets to the sardonic wit of later albums with Chuck Prophet's Richard Thompson twang, they never failed to entertain. I once met them in Manchester and there really was no love lost between them and their Paisley Underground contemporaries - even Steve Wynn (and why weren't the Dream Syndicate on this list?).

Of REM, Dan Stuart said that they jammed with 'em on occasion, "but you're looking at a band that got more produced and more pop on every album and a guy who was deliberately very non-concrete about his sexuality".

He reserved most of his bile for Howe Gelb of Giant Sand, though. "Oh god, I hate that guy. He's just some rich Jew boy from Scranton Pensylvania who goes through his phonebook and gets people to make his records for him!"

Oh, and the Del Lords also ruled.

laticsmon (laticsmon), Monday, 17 January 2005 11:11 (sixteen years ago) link

Oh, and Jason & The Scorchers must look at the Kings Of Leon and think, "Hang on a minute..."

laticsmon (laticsmon), Monday, 17 January 2005 11:16 (sixteen years ago) link

**"but you're looking at a band that got more produced and more pop on every album and a guy who was deliberately very non-concrete about his sexuality".**

**He's just some rich Jew boy from Scranton Pensylvania**

Now I REALLY don't like this asshole. "Hey, man, I'm a authentic roots rocker, not some fag or jew poser." DESTROY!

lovebug starski (lovebug starski), Monday, 17 January 2005 12:33 (sixteen years ago) link

I understand what you're saying. But in his defence he was keeping it real: never afraid of being out of step with the liberal media who'd wanked over REM from the start. When I accused him of doing a by-numbers loser schtick on one song, he kicked things around the room and fumed, "I wrote that song in a church, man. I was so strung out on dope you wouldn't believe".

Of course, between comments like these and firing three-fifths of his band to make ends meet, we get to the nub of why Dan Stuart was effectively ostracised frm the US music industry.

I still say they're worth investigating.

laticsmon (laticsmon), Monday, 17 January 2005 12:40 (sixteen years ago) link

**But in his defence he was keeping it real: never afraid of being out of step with the liberal media who'd wanked over REM**

Keeping it real?? Suppose Stipe HAD come out of the closet in 1986, would Dan Stuart have been cheering him on? Hah. And his knee-jerk antisemitism re:Howe Gelb is pathetic. Stuart could've stuck to evaluating their music and stayed out of trouble. So fuck him.

But hey, even bigoted jerks can make good music. We're all sinners in the eyes of the lord, etc.

lovebug starski (lovebug starski), Monday, 17 January 2005 13:00 (sixteen years ago) link

Well, I think his point about Stipe is that he stayed quiet about his sexuality in order to sell records. Obviously his comment about Gelb is indefensible. I included it to show that there really was no camerarderie between these bands. Stuart even made a record with Steve Wynn ('The Lost Weekend' - it's halfway decent) but wasn't above slagging him off for the same reason he dissed Gelb - namely that he saw him as something of a rich-kid pretender.

laticsmon (laticsmon), Monday, 17 January 2005 13:11 (sixteen years ago) link

now listening, on the radio, on LA's no-longer-quite-classic-rock KLOS: dwight yoakam, on jonesy's jukebox, talking at length about the blasters, the carter family, the palomino club, the dissonant harmonies of x, etc., while jonesy plays music by dwight, x, etc., between talking segments. if you are in la at this exact minute and you are on this thread you should turn on your radio.

fact checking cuz, Thursday, 23 March 2017 19:47 (four years ago) link

I am and I am, but I'm at work.

nickn, Thursday, 23 March 2017 21:09 (four years ago) link

ten months pass...

a really overproduced Bodeans song came on my ipod tonight, 'you don't get much'. which would have fit in nicely on any late 90s Mellencamp record.

can't believe the Sidewinders haven't been mentioned. Auntie Ramos' Pool Hall kills.

campreverb, Friday, 26 January 2018 05:08 (three years ago) link

four weeks pass...

Re popside of Lydia Loveless, she's also mentioned independent-minded Robyn as an inspiration, and LL is the onlu artist on Bloodshot (so far/prob forever) to release remixes. Still sounds not too many light years from the Bloodshot side o' town, and none of her records fall too far from the family tree of this thread.

Speaking of which, I finally got around to Chuck Prophet's 2017 Bobby Fuller Died For Your Sins. He's checking in, noting that '16 was a bad year for rock 'n' roll deathwise, right from the beginning, but him and the boys carried on; later, only actually kinda slow and blue one has them finding an offnight situation, the moneyman's iffy, the doorman's insistent, "the bartender's out in the middle of the street with his pants around his neck....but we got up played and sang and tried to make it rain." Sounds moderately satisfied, although Prophet's not saying he follows the Lord's Example in "Jesus Was A Social Drinker, " but he can appreciate it, so "C'mon, wash me in the water, and I'll wash you."
Mostly it's stomp and jangle, a little bit of Radio Shack "vintage" synth, most noticable, though still blending in, on the deadication to Alan Vega, doin' it with one foot on the altar, one foot on the grave (lively, though maybe a little too long).
Also like the one where he recalls how him and his lost brother used to dress up like astronauts to trick-or-treat--this right before he explains again that all the sweet things he means to tell you are "Coming Out In Code."
He's been watching the news, he knows about the guy who's a jangle-stomping "Killing Machine," having walked into a store and bought a gun, no prob, and there's store girl, takin' a smoke break---also the real life case of "Alex Nieto," shot dead by cops: they thought the taser, which he wore for his job and pointed at them during a confused argument, was a gun. Should they have handled it quite like that uh-well-ah
Fave so far is the one where he dreams about being Connie Britton, brushing her hair everyday, and driving her pink Caddy "up above the clouds, 'til the Trumpets sound, and then I might come down." Bunch of others too, I don't like 'em all, but they're all here:

dow, Saturday, 24 February 2018 02:03 (three years ago) link


Dave Alvin & Phil Alvin continue their reunion with a four-song EP. Originally released on vinyl for Record Store Day 2017, this limited edition CD includes “Hard Travelin’” (Woody Guthrie), “Mean Ole Frisco” (Arthur “Big Boy” Crudup, “California Desert Blues” (Lane Hardin) and “Kansas City Blues” (Jim Jackson).

This CD is available exclusively from the Yep Roc store and at Dave Alvin live shows while supplies last. Amazon's got the ltd. ed. vinyl for $29.99, Yep Roc lists CD for $9.00. Hadn't heard about this EP.

dow, Saturday, 24 February 2018 22:16 (three years ago) link

Which reminds me, recently posted this on the Blasters thread:

yeah so in my experience, Phil is exactly like the close-up portrait (executed in the spirit of the bold urban realist painter George Bellows)on the cover of the Blasters' s/t debut: kind of a rugged moonscape, except heated up, a little flushed, but not too, just a workin' man, with a ripplin' range of big white teeth in the spotlight, eyes closed, into it---live, he's also bobbing around, eyes still closed or tending to be, always seemed, in sound & visual, like something like an orbiting human jukebox of hot songs from several genres, a songster, as they used to say, making his moeny on the road in the great tradition---"Just think of your records as callin' cards, son," the suits started saying way back---so Al Jolson, one of the first if not the first of the record stars, quit recording for a while---reminds me, Will Friedwald, who specializes in writing about American singers, once mentioned in passing,"It was a given in his heyday that Johnnie Ray was a missing link between Jolson and Elvis"---hadn't thought of those two in the same chain, but listened to some Jolson (he came back to recording, got past "Mammy"), and yeah.
Thinking of Phil in more of a direct line to and from Jimmie Rodgers, who was country as in Asheville-before-Nashville: music halls, incl. minstrel at first---he sang or at least posed in blackface, later recorded with Louis Armstrong, frequently had the jazz-blues-country-Tin-Pan-Alley thing going on, vaudeville-wise, and Phil can seem like rockin' vaudeville, and of course there's Rodgers' "Never No Mo' Blues," on The Blasters, and another version on a comp I can't locate at the moment, but even more made me wonder about what if JR lived on into the 50s, the way he adapted to trends, though the take I'm thinking of wasn't exactly rockabilly in the usual sense (reminding myself now that Elvis did rework "Blue Moon of Kentucky").
Another one of the more obvious examples would be the cover of "Old Man of the Mountain," the Cab Calloway song, with Sun Ra and His Arkestra rolling along in the moonlight, no prob---on Phil's amazing Un "Sung" Stories. But really all the time, yeah go see the Blasters.

dow, Saturday, 24 February 2018 22:22 (three years ago) link

If this doesn't show, it's the cover of Dave Alvin and Jimmie Dale Gilmore's From Downey To Lubbock, out June 1:


dow, Thursday, 1 March 2018 00:30 (three years ago) link

Oops, should've incl

DOWNEY TO LUBBOCK was born by immaculate inspiration from live shows Grammy winner Dave Alvin and Grammy nominee Jimmie Dale Gilmore performed together in 2017. Just the two of them were swapping songs and cutting up, each with a guitar and a heart full of soul, musicians who ve been on the road their entire adult lives. The result is an album of blues, rock and folk inspired tunes that both of their fans will enjoy. The album contains 12 songs - 10 covers and two originals - and is destined to be a classic Americana album from two Americana legends. (on Yep Roc)

dow, Thursday, 1 March 2018 00:33 (three years ago) link

three months pass...

More blues than I expected, more than I've heard from Jimmie Dale for sure, but his voice and feel fit just fine---"I'm old Flatlander from the high plains," he sez in title-track opener, which is redundant--who would listen to this album without knowing the bio basics? Pretty sure most all their fans are old fans--but still it's a good capsule description of his sound and sensibility. Dig the way they find musical payoffs in the steady march through "You don't believe I love you look at the fool I been you don't believe I love you look at the hole I'm in" and keep going "back to my same ol' used to be," and now sounding pretty proud of himself/sassy with the wry--it is a jug band blues after all: "Stealin' Stealin" by Memphis Jug Band's Wiil Shade.
Even more oops factor in the even ever-more-timely "Get Together" (candidly precarious hopefulness of the verses coming through more clearly to me than on the Youngbloods' verses, so chorus more urgent and troubled too), and "Deportee--Plane Wreck At Los Gatos." Best Dave solos prob on "KC Moan," about which he quotes Jimmie Dale,"There is a time for more Blue Cheer and less Blue Cheer, and this is a time for more." Also good outward bound picking on "Walk On." Only a couple of geezer-snoozers, I think.
Whole thing's here:

dow, Wednesday, 13 June 2018 20:11 (three years ago) link

Youngbloods' "version," I meant, not "verses."(The song was written by Chet Powers AKA Dino Valente, later of Quicksilver Messenger Service.)

dow, Wednesday, 13 June 2018 20:17 (three years ago) link

six months pass...

(the song is a little tom petty-ish and a little every single band in the title of this thread.)

fact checking cuz, Tuesday, 8 January 2019 22:32 (two years ago) link

Oh yeah, still need to check that album, thanks for the reminder.
Still coming out of a bronchial wet blanket, got braced by this lil palette cleanser, all 17 minutes and 57 seconds of, it CD and vinyl EP. Marvin E., who also worked with the Ramones, sure knows how to load that milk wagon sound----double Maria here, her and Ryan there, him up front, Rolling Thunderite David Mansfield's fiddle and steel over yonder, shotgun of Dave H.'s bass, Don W.'s drums, co-writes, solo, and their greatest cover making its debut---the only track that needs turning up, but so worth it. Etzioni provides succinct, pertinent notes on all songs.

First-ever collection of the earliest, original Lone Justice’s demos.

“Maria & I woodshedded for almost a year before we were ready to take the music we had uncovered out into the clubs. This is the original line-up of Lone Justice.”
—Ryan Hedgecock

Musician and producer Marvin Etzioni first saw Maria McKee and Ryan Hedgecock in a club in 1982, playing George Jones and Hank Williams covers. He convinced them they needed original material. After working and writing, the band added Dave Harrington (bass) and Don Willens (drums), the band worked up material with Etzioni and cut 5 of the 6 tracks at the famed Record Plant. An earlier session provides the 6th track.

The Western Tapes: 1983 exhibits the genesis of this highly-influential band. While the original demo version of “Drugstore Cowboy” has appeared on various compilations, the remainder of the other tracks from the sessions have remained in the can. Two of the tracks appear in their earliest demo form and wound up landing on the classic 1988 Lone Justice debut, “Working Late” and “Don’t Toss Us Away” (written by Maria’s half-brother, Bryan MacLean of the classic band, Love) which would eventually become a Top 5 smash for Country superstar Patty Loveless.

Released in conjunction with the band, the 12″ and CD EP were mastered by Bernie Grundman (who also cut the 45 RPM lacquers). It’s a look into where they started and foretells where they would go.

As Etzioni (who would later join the band) says in his liner notes: “With countless hours together, it was a fun and innocent time. I believed we were creating a 21st century country band.”

They created much, much more.

All tracks previously unissued except *
12″ EP does not include a download card
Cat: OV-305

dow, Tuesday, 22 January 2019 01:06 (two years ago) link

Someone posted their debut on a fb group, and one of the commenters talked about how LJ had this burgeoning following in LA and Dolly Parton was coming to see them, but when Iovine got hold of them, suddenly it was "Maria McKee and the Heartbreakers," which wasn't what they sounded like/wanted to sound like.

McKee talks about early LJ days/dealing with record company weasels here:

Montgomery Burns' Jazz (Tarfumes The Escape Goat), Tuesday, 22 January 2019 16:02 (two years ago) link

Thanks! We hadden nog geen maatschapij dammit---not that she didn't already project theatricality, and if it had to be Heartbreakers and Big 80s blare by suits' decree also (whose idea was it to bring in Little Steven as producer?), LJ handled it well enough, for the most part. Don't sleep on her solo albums tho.
Speaking of Unchained 1983, more from way upthread, finally legit 5 years ago:

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).

12 tracks of prime Lone Justice recorded in 1983 with 9 previously unissued performances!
It can be difficult to capture the live power of a band on a studio recording. Thankfully, Lone Justice (Maria McKee, Ryan Hedgecock, Marvin Etzioni, and Don Heffington) went into Suite 16 Studios in December of 1983 and laid down much of the set list they were packing Los Angeles area clubs with.

Recorded direct to 2-track tape by engineer David Vaught and with no overdubs, those twelve tracks can finally be heard in their entirety as This Is Lone Justice: The Vaught Tapes, 1983. As Billboard’s Chris Morris writes in his liner notes, the release “offers the best representation of the band in its infancy—hot, full of piss and vinegar, and ready to take on the world.”

Nine of these twelve tracks are previously unissued, and include originals (including “Soap, Soup And Salvation”, which would appear on their Geffen debut two years later) to the covers they made their own in concert (Johnny Cash and June Carter Cash’s “Jackson” and “Nothing Can Stop My Loving You,” written by George Jones and Roger Miller.)

Available on CD and LP (with the first pressing on translucent red vinyl), in addition to Morris’ liners, the package contains an essay from the band’s Ryan Hedgecock, as well as a remembrance of David Vaught from Marvin Etzioni and a loving endorsement from Dolly Parton. With unseen photos and memorabilia, this collection is what Lone Justice fans have been waiting for. This Is Lone Justice: The Vaught Tapes, 1983 takes us back to a time when music had an energy that was hard to contain. Thanks to that studio in Van Nuys, CA, and this release, Justice has been served!

All tracks previously unissued except *
LP includes download card.
Cat: OV-77

dow, Wednesday, 23 January 2019 02:47 (two years ago) link

two weeks pass...

Artist: Jason Ringenberg
Album Title: Stand Tall
Release Date: February 7, 2019
Album synopsis:
The history of popular music is filled with stories of nature inspiring great works. This happens to be the case for Americana music legend Jason Ringenberg’s latest album, Stand Tall, which was conceived in one of the most awe-inspiring places on earth.

Stand Tall was literally inspired by trees--and, as the title suggests, very big ones at that. The album was penned in June 2017 while Ringenberg was commissioned as the artist in residence at Sequoia National Park in northern California. There, the National Park Service provided him with the unique opportunity to occupy a remote mountain cabin for a full uninterrupted months’ time, in order to write and work on his music.

“I found that spending so much time alone in that primal wilderness did wonders for my songwriting,” said Ringenberg, and indeed, this is reflected on Stand Tall, a record filled with characters on a mission. Ringenberg’s point-of-view subjects bounce from time period to time period, ranging from John the Baptist (“John the Baptist was a Real Humdinger”) to John Muir (“John Muir Stood Here”) to a disillusioned Confederate conscript (I’m Walking Home”)--and even his own personal experiences, in particular opening for the Ramones on a string of Texas dates in 1982 (“God Bless the Ramones”).
"Ringenberg, like fellow Nashville resident Jim Lauderdale, should be now be considered icons of determination with careers that have gone through ups and downs but now care only to make the kind of music that they feel in their souls. Both are decent men doing the very best they can to make the world a better place (musically at least). Take a bow and stand tall Jason.”--Stephen Rapid, Lonesome Highway

"Ringenberg has a strong knack for stories and word play, and presents it all honestly, (with a grin or two along the way). Ringenberg remains one of our living legends and it’s great to hear from him again.”--Jim Hynes, Making a Scene
"This is a collection that adds to the legacy, never mind anything else. Jason Ringenberg is still scorching. And you best believe that here everything – and not just the trees – is standing tall."--Hugh Deneal, Maximum Volume

dow, Tuesday, 12 February 2019 23:45 (two years ago) link

hearing Lone Justice with less 80s production is pretty exciting prospect

Blues Guitar Solo Heatmap (Free Download) (upper mississippi sh@kedown), Wednesday, 13 February 2019 00:48 (two years ago) link

four months pass...

news from Chuck Prophet:


We’ve got tour dates all over creation with the Mighty Mission Express starting today at the Huichica Music Festival in Sonoma, CA. I’ll get to those in a hot minute.

But first, in other news…


Over the past months I produced a new RUBINOOS [rhymes with two canoes] LP "FROM HOME” for Yep Roc Records. I probably saw the Rubinoos like 20 times in high school. Although I’m not a power pop bubblegum nerd or whatever, I loved how they were true to their school. Be it Spaghetti Western soundtrack music or the Archies, The Beach Boys, The DeFranco Family, or the Jackson 5, they knew what they loved. And wore it on their sleeves. Rubinoos AF.

After those first couple LP’s, The Rubinoos took the hero's journey and it wasn’t all glorious. Sure they opened 56 shows for Elvis Costello during the Armed Forces tour. Appeared on American Bandstand. Made the pages of Tiger Beat. But before too long Tommy and Jon moved to LA, and Donno and Al took other gigs.

Jon went on to appear as the Doo Wop singing/pizza delivery boy on a number of Sitcoms. Tommy eventually got a Tux and the Real Fake Book and played his share of society gigs. Tommy and Jon did ghost vocal sessions with Kim Fowley for drag queen records. [Or "Fowl Kimley" as Jon calls him.] There were new records with session drummers. Along the way they sang the demo for the Revenge of the Nerds theme song and it was so good ended up in the movie which just further confused people.

But now they're back. Getting all the original guys back together to make this new record was a big deal to me.

And you can read about this new record and hear the premiere and watch the video for their new single "Do You Remember” over at Billboard Magazine. Bring Pop back to the common man!

LINK: https://www.billboard.com/articles/columns/rock/8511493/the-rubinoos-do-you-remember

Or jump straight to this video starring Salvadoran dancing sensation Aranivah.

LINK: https://www.youtube.com/watch?v=Re88FR9rxKc


Be with us on June 29th at The City Winery NYC to celebrate beloved New York icon Garland Jeffrey, who is doing his last shows. The sexiest man in Scandinavia! The poet laureate of Sheepshead Bay Brooklyn! is retiring from the stage. Stephie and I will be guesting on a song or two. Also on the bill, David Johansen and more. Some tickets still left for the early show. What can I tell you about our old friend Garland? (People get a kick out of hearing he was Lou Reed’s college roommate. Who swept the floor? With who?)


Oh, and another thing. File under: "They gave the Dude a beeper”. Yessir, they gave me a radio show on the Gimme Country Network. I’m spinning lots of 50’s, 60's country. Nashville cats, Wrecking Crew side streets, yodeling cowboys, honky-tonkers, swampers, truckers, rockabilly cats and more. You name it. All that stuff, that funk, that sweet, that funky stuff [Say what].

MORE HERE: https://www.gimmecountry.com/#/radio


dow, Monday, 24 June 2019 21:27 (two years ago) link

Right on. I'm super into Green on Red's Gas Food Lodging LP rn

think the toledo mud hens but for twitter (Drugs A. Money), Saturday, 29 June 2019 05:12 (two years ago) link

I saw Dan Stuart (Green on Red frontman) solo earlier this week in a bar for about 10 people. Looking like a retiree, and talked about being out of the music world for about 15 years. Still magnetic.

For the encore, he asked if anyone wanted to hear any Green on Red, and someone said "Time Ain't Nothin'." And he played the most beautiful and slow and mellow version of it.

Listened to Gas Food Lodging on my way home from that show. It really feels like it fits alongside Nebraska, in capturing a early-80s recession helplessness and poverty. But capping it off with a cover of "We Shall Overcome" keeps it from being pitch black all the way through.

This song was powerful too:

... (Eazy), Saturday, 29 June 2019 13:30 (two years ago) link

Yeah I totally get Nebraska vibes from the album too. Or, like I was thinking a few days ago, maybe residing somewhere between ditch-era Neil and the Gun Club. But Stuart on, say, "Sixteen Ways" or even "Illustrated Crawling" off their first EP, lays it on so thick and goes so over-the-top with the hard-luck desperation that it almost anticipates early Pixies or something

Like if Nebraska is sort of the gold standard of "dark roots rock" then "Sixteen Ways"/"Illustrated Crawling" pushes it a step further into grotesquerie and absurdity, and then, like "Nimrod's Son" or "The Holiday Song" takes it a step beyond that

think the toledo mud hens but for twitter (Drugs A. Money), Saturday, 29 June 2019 14:45 (two years ago) link

six months pass...

From latest Chuck Prophet newsletter:
First off, in case it got past you, I filmed a travel show for Southwest Air and Luck Reunion. A kind of Anthony Bourdain styled show where you can ride shotgun with me and Aaron Lee Tasjan through the backstreets of San Francisco. The Luck Reunion team are brilliant. This ain't some insidious internet trash. There are real production values. I think you'll enjoy it.


Now that I've got some portion of your attention, I’ve got gigs coming up, and without you there it wouldn't quite seem right. For now though, allow me to fire up this Trader Joe’s Candle, dim the lights and put on this Miles Davis record ["Lift To The Scaffold” - my go-to Miles jam]. Oh the sweetness of doing nothing! yadda yadda Well, I’ve got my own reasons to feel a little bit hopeful. Such as my new record coming down the pike. Soon we'll have a release date and everything. And if that isn't a better tomorrow, for ourselves, and the children of the world, I don’t know what is.

I also look forward to going out and playing the gigs mentioned above, some SOLO, and some with the Steph and the boys. (Check out my crazy asterisk and pound sign system below. I'm patenting the app as we speak.) I'll even be taking songs off the new album out for a spin.
And then there's my great good fortune to be playing some gigs with the mighty Mission Express. The greatest lineup I’ve ever played with out there on the hillbilly highway. And I'm still managing to get lost in it. Not lost lost. Chet Baker lost. Lost in the music.

GIGSVILLE: Get up to the minute details on live shows here: http://chuckprophet.com/gigs/



dow, Tuesday, 31 December 2019 02:26 (one year ago) link

one month passes...

Update from guess who (no, not The Guess Who):

You heard it here first (unless you didn't). I’ve got a new record coming out on May 15 called “The Land That Time Forgot.” On Yep Roc Records. In fact, today’s the day we’re releasing the first single,“Marathon," complete with a swanky video directed by Darrell Flowers and edited by Lauren Tabak which features some fancy footwork from me and Stephie as we trade punches.

Watch/stream "Marathon," and pre-order the album here: https://ffm.to/landtimeforgot

What can I tell you? I can tell you this:

I wasn’t too pleased to learn that Jason Isbell is releasing his new record the very same day as mine.

So I sent a message to Jason and said, “I think it’s only fair that you change your release date.”

He replied and got straight to the point: “Chuck, you know I can’t do that.”

So I said, “You know Jason, I don’t know how this makes me feel. Actually I DO know how it makes me feel. It makes me feel like Amy Klobuchar. I mean I’m in the running and everything but I feel like people treat me as if I’m the person that runs the concession stand at a Little League game. I’m a serious artist, Jason!"

(As you can see, we're on a first-name basis.)

Well, he calmed me down and reasoned, “Chuck, at least we will get people to the polls. I mean the record stores. And once they get in there they can vote however they like. It's their country. Or their record collection as the case might be. Maybe they buy Jason Isbell, maybe they buy Chuck Klobuchar.”

That hurt a little, I won't lie.

But on reflection I thought it sounded pretty reasonable. And reminded myself that Jason is younger and better looking and he probably knows a thing or three.

[DISCLAIMER: This interchange is as I recall it. Jason may not remember it this way. But it definitely happened.]

So, what about this new record? Rock ‘n’ roll has always been about hope and despair, falling apart and picking up the pieces, romance and heartbreak, whistling past the graveyard with a bad moon rising. And San Francisco is all of those things. A place of new beginnings and reinventing yourself married just lately to a bottomless pit of greed filled with robots with ironic haircuts.

When it came to recording, we were priced out of our home turf and ended up in a studio a few miles from the Vermont border where I could hear myself think – which was pretty f*cking scary! Recording with some rock and roll royalty who dressed like lumberjacks in a big old mansion that’s on the National Historic Register.

Musically speaking, this is a radical departure for me. I usually lean on the Rockpile by way of Highway 61 template more than Alison Krauss. But this record has a lot of acoustic energy. It’s a folk record even, in spots. All that with a heaping scoop of Stephanie Finch jump, jiving and harmonizing her way down that old fair lane.

klipschutz and I had a lot of lunches and arguments. You don't want to know how sausage is made, I assume (though it's actually kind of fascinating, but whatever). So what can I say about the first single "Marathon"? It’s seems kind of nostalgic. But it’s not. Once you get past the krautrock bassline and The Everly Brothers acoustics and the relentless groove of The Mission Express, it’s a song about Depression era dances with roots in the Salem Witch Trials and the anxiety of anyone today who’s short on rent again. The gig economy. Reality shows. Exploitation. Dance marathons of the Great Depression were the first reality shows. And like Pro Wrestling, blurred the line between theatre and reality. Okay, I’ll spare you any more MFA gibberish, I gotta run. I got the Discovery Channel on and Naked and Afraid is up next.

Again, watch/stream "Marathon," and pre-order the album here: https://ffm.to/landtimeforgot

(Get up to the minute details on live shows here:

dow, Friday, 28 February 2020 21:42 (one year ago) link

five months pass...

he's got a couple of 2020 releases added to his bandcamp now: Strings In The Temple is a live one-off from 2013, a performance of 2012's Temple Beautiful, with the added backing of string octet (scored and conducted by Brad Jones) in our hometown of San Francisco.

We had one chance to get it right. And this film is a document of the twists and turns in the road that brought us to that one-night-only sold-out performance at the Great American Music Hall (Itself a former bordello and a deco SF institution).

The songs performed that night include characters like Willie Mays, martyred supervisor Harvey Milk, Cain & Abel porn kings Jim & Artie Mitchell, mythic oddball "Red Man," preacher/Svengali Jim Jones, politician-turned assassin Dan White, and Emperor Norton...[ yeah, the film's on youtube, I think---but this is enough for me. Most of the songs seem too soft---sentimental and soft on Chuck, over- and underworked, with lots of detailed imagery and Deep turns of phrase that go nowhere much, even when some of the historical "references" are explained in his bandcamp comments. Although the one from POV of Emperor Norton kind of works,in a John Calean way, and "I Felt Like Jesus" is def. Chuck, also Caleian, but here not impending doom so much as the catchy concise pop goes the violets of vio-oh-lence-mode of Chuck and Cale.
Maybe a couple of other exceptions, but overall if you liked the songs already, you'll prob like them even better with these strings, and even if you don't like 'em, strings still help, so mission accomplished either way.

dow, Tuesday, 11 August 2020 20:52 (one year ago) link

The latest 2020 release is all-new The Land That Time Forgot, and the sound is more mild-mannered than expected for post-Temple presentations---I was expecting something more like 2017's Bobby Fuller Died For Your Sins, talked about upthread and still on bandcamp---but, given that, most of it works better than Temple. even in perhaps delib contrast w rock references---this would make a nice single, kind of like Randy Newman with a better voice:
If Bukowski was good looking
And Napoleon was tall
If Joan of Arc just took her meds
She’d be a movie star
If up was down and down was up
Imagine where we’d be
The New York Dolls would still be here
And music would be free

And I’d be high
As high as Johnny Thunders
In the land that time forgot
High as Johnny Thunders

...And if families stayed together
I’d have a window seat
And all the children of the world
Would have enough to eat
If heartbreak was a virtue
Man, I’d be so virtuous
To get back in your pants
I might hijack a city bus

And I’d be high...

dow, Tuesday, 11 August 2020 21:03 (one year ago) link

Ditto the lonesome kids who "cranked Metallica" and partied:

Nilli said, “I had a body once
Willie, you have no idea
I could make a grown man bark all night
Anytime, anywhere”
Willie said, “I had a lion’s mane,
Now I sing at the top of my lungs
Till the neighbors get the broomsticks out
And the cops all sing along”

They’d be singing
Love me like I wanna be loved

dow, Tuesday, 11 August 2020 21:07 (one year ago) link

"Paying My Respects To The Train" could be a bonus track for Buffalo Springfield's Last Time Around, and "Nixonland" has a suitably ominous vibe, though no Neilian guitar waves, still:Just last night I fantasized I was in a time machine
Walking hand in hand with my sister there
Along the San Clemente beach

My fourth grade class took a field trip once
To pay tribute to the man
Did I ever tell you that I was born
In the heart of Nixonland?

But then it gets to some bits of Nixoncana which you might find familiar, maybe from Rick Pearlstein's book---eventually another glimpse from the narrator's own early takes, maybe:
He had a wife and two daughters too
They were with him right up until the end
Holed up like four refugees
High on a cliff over Nixonland
Make up your own Neil solos!

dow, Tuesday, 11 August 2020 21:16 (one year ago) link

"Meet Me At The Roundabout" is kind of early Springsteen turning into Alex Chilton, when it gets to this part:
You took me to a Catholic priest
And I took you to a whore
You took the breath right out of me
Against your kitchen door
We’ve got no obligations
No one to impress
Go on and ask me anything
The answer will be yes

"Womankind" seems Bruce Randy Chilton as hell:
Man made that, man made this
He made the blow-up doll
He made the iron fist
But he didn’t make the wind
And he didn’t make the rain
Or the cold sunshine
On a winter’s day

Meet me down by the powerlines...
Man made this, and man made that
He made the parking lot
He made the pork pie hat
But you carried a child
And you taught it to live
While they short you every hour
For the time you put in

Meet me down by the powerlines

---and a crucial verse in "Waving Goodbye" also seems Chiltonesque in some ways. Still others---well anyway, it won me over, for the most part:


dow, Tuesday, 11 August 2020 21:29 (one year ago) link

Lone Justice and Jason & the Scorchers, I remember them, or rather know of them -
Jimmy Guterman (RIP) was an enormous fan and something he wrote in the mid-'90s (long after they took a shot with a major label) became my introduction to them. I found out later that he wrote gushing reviews for at least one of their debut records for Rolling Stone back in the day, and given his tastes, it's no surprise that he would love them - he was an enormous roots music fan, especially country music, and his favorites leaned heavily in that direction.

Fervor (the later pressing that adds "Absolutely Sweet Marie") and Lost & Found are excellent, fine cowpunk tracing the path from Gram Parsons to alt-country, and Lone Justice's pre-Geffen recordings are nearly as good. (Their meat-and-potatoes debut LP is still enjoyable, but everything they did for Geffen feels compromised, a calculated attempt at mainstream success.)

birdistheword, Tuesday, 11 August 2020 21:50 (one year ago) link

You might like some of those this-century-released collections of very early, live and studio Lone Justice tracks, finally legit, as discussed upthread. Some of the Maria Ronstadt & The Heartbreakers-type productions were later remastered with Big 80s blare toned down to an extent, on The Millenium Collection for inst, and they always had the songs and skills.

dow, Wednesday, 12 August 2020 00:17 (one year ago) link

from Rolling Reissues 2020:

I also received the first two The Primevals albums directly from LTM. The reissues were from 2015, but I was not aware of them until recently. RIYL The Gun Club, Cramps, Crazy Horse, Eleventh Dream Day.I wrote about Sound Hole (1986) herehttps://fastnbulbous.com/between-the-cracks-1986-compendium/


dow, Wednesday, 12 August 2020 00:51 (one year ago) link

Thanks dow! Omnivore's a great label, so while it's a surprise that quite a bit of this early material has gotten a legitimate release, it's not a surprise that it's coming from them. I still have bootlegs but they sound atrocious - they sound like nth-generation cassette dubs that have been heavily processed with noise reduction. Almost impossible to enjoy, so it's pretty awesome that I can start replacing them.

birdistheword, Wednesday, 12 August 2020 01:20 (one year ago) link

four months pass...

Comments from Nashville Scene ballot (re hacked-in Imaginary Categories):
In the middle of this our life, Maria McKee comes to a clearing and plunges fearlessly into thickets of imagery, following her Beatrice not into Afterworlds, so much as La Vita Nuova ---she to whom the term “Pre-Raphaelite” has long been among the many applied, so you can also call some of these blossoms Pre-R glam or art folk rock, though sometimes it’s just her tirelessly faithful piano, maybe with upright bass, or poised orchestral sojourns---and her voice is in great shape for answering all calls and seeking more. Almost as exhausting as it is astonishing to listen to all the way through with no bathroom breaks, nevertheless it always pulls me right around the rim ov void, along the path of Passion. While she sings and plays and conducts it, I’m a believer, pert near--no time or space to think otherwise, in my case.

dow, Monday, 4 January 2021 23:01 (ten months ago) link

Yeah, that one has been talked about a (small) bit at Lone Justice/Maria McKee.

anatol_merklich, Monday, 4 January 2021 23:41 (ten months ago) link


bears repeating: this song still rules ^

kites aren't fun (NickB), Monday, 4 January 2021 23:53 (ten months ago) link

listening to the 83 Lone Justice demos mentioned upthread, real fun stuff they were a scrappy cowpunk band

Blues Guitar Solo Heatmap (Free Download) (upper mississippi sh@kedown), Tuesday, 5 January 2021 15:09 (ten months ago) link

I'll cue up the McKee album.

two weeks pass...

No dedicated Long Ryders thread?

RIP Tom Stevens :(


Maresn3st, Monday, 25 January 2021 11:16 (ten months ago) link

one month passes...

Latest Chuck Prophet newsletter: on the bill of the first new Mountain Stage show in quite a while (because covid), which started airing/streaming yesterday, check site and stations https://www.mountainstage.org/radio/Pages/Radio-Affiliates.aspx Links to pay-per-view concerts coming up later this month:https://www.stageit.com/chuck_prophet_the_mission_express/mid_season_replacement_show_uk/95798 and https://www.stageit.com/chuck_prophet_the_mission_express/mid_season_replacement_show_us/95799, also a lot of other other recent items & linkshttp://chuckprophet.com/

dow, Saturday, 6 March 2021 18:59 (eight months ago) link

two weeks pass...

RIP to Lone Justice drummer Don Heffington. I think he had a distinguished career as a session man, did he not?

birdistheword, Thursday, 25 March 2021 08:36 (eight months ago) link

one month passes...

Pulled out the 'Gas Food Lodging/Green on Red ep' CD for 3x spins in the past couple of days. It is interesting how different the band sound is on the EP to the LP. The s/t EP very much has a 60s garage psych sound and the second one is cold tapping the stones w/dylan's organ sound. Dan Sturt's voice also kinda reminds me a bit of Bonnie Prince Billy.

earlnash, Wednesday, 12 May 2021 00:54 (six months ago) link

Yeah, Prophet mentioned somewhere that they had some major disagreements about musical directions.

xpost from Lone Justice/Maria McKee:

2021 is a trip. I learned that the LJ/MM's long time drummer passed away via Van Dyke Parks' twitter:

R.I.P. blessed Percussionist Don Heffington (12/20/‘50-3/24/‘21).
R.I.P. old Saddle Buddy. pic.twitter.com/JF0cO6ehWt
— Van Dyke Parks (@thevandykeparks) March 24, 2021

― Jersey Al (Albert R. Broccoli), Wednesday, March 24, 2021 7:39 PM (one month ago) bookmarkflaglink

Oh man! The impression that I got from booklets w LJ reissues and prev. unreleased on Omnivore was that he was pretty involved in working up a lot of arrangements, when the suits didn't get in the way; also, as wiki sez: Don Heffington was an American drummer, percussionist, and songwriter. He is known for his solo albums, his work with Lone Justice, and his extensive touring and session work with artists such as Lowell George, Bob Dylan, Emmylou Harris, Jackson Browne, Barry Goldberg, Big Kettle Drum, and Victoria Williams. Much more here:


dow, Wednesday, 12 May 2021 01:12 (six months ago) link

(If I didn't get it all in here, 2020 was quite a year for prev. unreleased etc. Dave Alvin & friends, as noted on his own thread)(and/or the Blasters' thread, hard to keep 'em all lined up)

This mind-melting curation of early live recordings by The Dream Syndicate is testimony from a witness: Los Angeles writer Matthew Specktor. He has created three live albums that carry you from the band’s first show, through “The Days of Wine and Roses,” and into a full live preview of “The Medicine Show.”

Download it from this page, which also incl. Specktor's notes (would like to read his forthcoming memoir, Always Crashing In The Same Car);

dow, Monday, 24 May 2021 23:11 (six months ago) link

True or False: all these bands were influenced by the Stray Cats

I say True

sleeve, Tuesday, 25 May 2021 01:01 (six months ago) link

(not The Dream Syndicate though, thanks for that)

sleeve, Tuesday, 25 May 2021 01:04 (six months ago) link

Somebody yelled out "Gun Club!" way back at the beginning of this here thread.

Both the LP and CD Editions Come with 10 bonus tracks and the Previously Unreleased Live At Club 88 – March 6, 1981

Street date July 23, 2021

LOS ANGELES, CA. (Tuesday June 1, 2021) — With a howling and unholy mix of punk rock and the blues, Jeffrey Lee Pierce and The Gun Club exploded upon the L.A. club scene in the early ’80s. They recorded their classic debut, 1981’s Fire Of Love, for the local Slash/Ruby Records label. And now that legendary album has been unearthed and brought back to life as a deluxe two-CD and two-LP set.

Both the double-CD and double-vinyl editions contain a digitally remastered version of the original 11-track album, produced by fellow L.A. scenesters Chris D. of The Flesh Eaters and The Plugz’s Tito Larriva. The CD version will include 10 previously unreleased four-track demos and alternate versions, while the LP will include a download card for the digital version of the 10 bonus tracks.
Both the CD and the vinyl versions will include a second disc, the previously unreleased Live At Club 88 – March 6, 1981, a concert recording capturing the band’s incendiary live set at the legendary West L.A. dive bar.

The double-vinyl version will be released as a two-LP set packaged in a gatefold cover with extensive liner notes by drummer Terry Graham and remembrances from producer Tito Larriva and co-producer Chris D., as well as rare photos and ephemera. The CD version will include a booklet with liner notes, photos and ephemera.
Born on June 27, 1958, Jeffrey Lee Pierce grew up in the East Los Angeles suburb of El Monte, California, before moving with his family to the San Fernando Valley, where he attended Granada Hills High School. Back then his main passion was acting. Eventually, his interest veered to music, but he held on to his love of drama and would later inject it into his music and performances. He’d been toying with guitar since the age of 10, and by his late teens and early 20s, he’d formed a few bands and wrote about reggae for Slash magazine under the pen name Ranking Señor Lea.
It was in Creeping Ritual, a band Pierce formed with guitarist Brian Tristan, in which Pierce found his footing. He’d discovered the Delta blues from the record collections of Canned Heat singer Bob Hite and L.A. scenester Phast Phreddie Patterson, and decided to make them his own. Although his first bassist and drummer bailed, the band — rechristened The Gun Club by Circle Jerks’ singer and Pierce’s one-time roommate Keith Morris — became a reality with the addition of the fully formed rhythm section of bassist Rob Ritter and drummer Terry Graham. They had already played together in punk band The Bags and could hold down a solid foundation for Pierce and Tristan — now known as Kid Congo Powers — to improvise over. “He was injecting blues into the heart of punk rock, struggling to give life into something new and brilliant even if it was old and obvious at the same time,” Graham says of Pierce, in the book More Fun in the New World: The Unmaking and Legacy of L.A. Punk.

Fire of Love captures the Gun Club at their rawest on such originals as the unforgettable album-opener “Sex Beat,” the addictive “She’s Live Heroin to Me” and the psychobilly stomp of “For The Love Of Ivy,” an ode to Cramps guitarist and future Kid Congo bandmate Poison Ivy Rorschach. The band also delved into their influences on the set, digging up Tommy Johnson’s “Cool Drink Of Water” and Robert Johnson’s “Preaching The Blues” and jolting them back with jumper cables via Pierce’s new arrangements and “Elvis from Hell” howl.
As Graham writes in the liner notes, “I couldn’t be more thrilled to know Fire Of Love has given so many a nice kick in the ass…I not only loved fighting off the Devil while a member of Gun Club, but I’m proud of what we did on Fire Of Love with Chris and Tito as our guides. And if this music continues to irk the purists, I couldn’t be more proud. Jeff, you were one hell of a great musician, but you knew that.”
The Gun Club went on to record several other albums — including 1982’s Miami (reissued by Blixa Sounds in 2020) — before Pierce’s death in 1996, yet Fire Of Love is their finest hour.

DISC 2 / LIVE AT CLUB 88 – MARCH 6, 1981

LP2 / LIVE AT CLUB 88 – MARCH 6, 1981

Fire Of Love trailer https://www.youtube.com/watch?v=D7kwkoRyI5w
for more information please contact william at blixa.com

dow, Sunday, 6 June 2021 20:22 (five months ago) link

three weeks pass...

A new version of the Cruzados is putting out an album in August:

LOS ANGELES, Calif. — The Cruzados, L.A.’s forceful rock band of the 1980s, make a phoenix-like return this summer with the release of She’s Automatic, the group’s first set of recordings in more than three decades.

The new release, featuring 11 songs written or co-written by Tony Marsico, the bassist and co-writer for the Cruzados and a member of the band’s punk-era precursor the Plugz, will be issued on CD on August 13, 2021 on Marsico’s imprint Scamco; an LP edition will follow in the fall. The album will also be available on select digital and streaming platforms.

The album is a live, hot, no-nonsense collection of hard-hitting rockers on which Marsico is joined by the members of his ’80s L.A. contemporaries Little Caesar. The set’s glittering group of guest musicians includes a host of noted L.A. punk vets, including John Doe (X), Dave Alvin (the Blasters), David Hidalgo and Steve Berlin (Los Lobos), and Melanie Vannem (the Muffs, the Pandoras).

The Cruzados attracted national attention in the ’80s with their stormy, Latin-inflected brand of post-punk hard rock. Signed to Clive Davis’ Arista Records, the quartet issued two albums, Cruzados (1985) and After Dark (1987). They also made a high-profile screen appearance in the 1989 cult classic Road House. However, familiar rock ’n’ roll pressures capsized the band in 1991; guitarist Marshall Rohner died in 2005, and drummer Chalo “Charlie” Quintana died in 2018.

In the intervening years, Marsico worked on the debut album by Plugz and Cruzados singer-guitarist Tito Larriva’s band Tarantula, today based in Austin. He also carved out a notable career as a top session musician and touring sideman with such artists as Bob Dylan, Neil Young, Roger Daltrey, Marianne Faithfull, and Willie Nelson. The bassist’s studio and road stories are collected in two books, Late Nights With Bob Dylan (2009) and I’m Just Here for the Gig! (2020).

With the onset of the pandemic in 2020 and the enforced solitude that followed, Marsico began to contemplate a new project under the Cruzados handle.

“Being penned up with the pandemic at home for a year, I started questioning my mortality,” he says. “I felt like I got shortchanged with the Cruzados. We never got to put out a third album, due to a lot of crazy circumstances that cropped up. I wanted to do the band justice and go out on a high note. That was my goal, and to pay tribute to Chalo and Marshall.”

Material for a new Cruzados release came quickly. “I wrote a batch of new songs during the pandemic at home,” Marsico recalls. “I had a lot of frustration and anger that I had to get out of me. Before I knew it I had an album. There wasn’t any big plan. I just felt motivated to do something more constructive than sit around being miserable about the state of the world.”

Songs co-written with former Fleetwood Mac guitarist Rick Vito (“Long Black Car”) and veteran blues keyboardist Barry Goldberg (“Son of the Blues”) were also brought to the table. “I’d always wanted to get those out, because we’d never properly released them,” Marsico says.

It didn’t take long for Marsico to decide on the right musicians to carry on the Cruzados’ legacy in the studio: He turned to singer Ron Young and guitarists Loren Molinare and Mark Tremalgia of Little Caesar, who were also active on the L.A. scene in the late ’80s as a Geffen Records act. The core lineup was completed by drummer Ron Klonel, who has collaborated with Little Caesar in recent years.

“The Little Caesar guys were Chalo’s best friends — they were pals from back in the day,” Marsico says. “I had to find the best guy to be the lead singer. My tastes have changed a little — the influences are blues and rock ’n’ roll. I knew that Ron Young from Little Caesar loved blues, and we got to talking and we hit it off with the same style of music. I knew that he could pull this off and get behind it.

“Loren Molinare was in the great ’70s L.A. band the Dogs, of course, and I loved the Dogs, and Mark Tremaglia is an excellent slide guitarist I’ve been working with for a couple of years now. Rob Klonel is a great, solid rock ‘n’ roll drummer. It was really important for me to get someone who hit ’em hard like Chalo. They were a perfect combination of guys, and they had a lot of enthusiasm.”

With Bruce Witkin engineering and producing, the new Cruzados set up shop at Unison Studios in L.A.

Marsico recalls, “We did it old style — we just set up in a room all together, like we used to do records before they started putting everybody in isolation booths and all that crap. We got the band together and rehearsed, and we went into the studio a week later. Before we knew it, we had the album. All live, no click tracks. We all played in our own little area, with our masks on. Set up, play, cut the songs, boom. It felt great to rock with a bunch of like-minded guys. With our special guests, half of them came to the studio, and half recorded their parts at home.”

She’s Automatic is both a forceful continuation of the Cruzados’ sound and an ardent homage to the work they began more than three decades ago. Marsico says, “I didn’t like the way the Cruzados went out. We were really great friends. It was never a band that was at odds with one another. Yes, there were problems that tore us apart, but we were like family. Why not do it now? Life’s too short, man. You’ve only got so much time you can rock ’n’ roll.”

The Cruzados are currently booking dates for a 2022 European tour.

No Tito Larriva? I'm not interested. But others may be. Loads of guests, anyway.

but also fuck you (unperson), Monday, 28 June 2021 13:41 (four months ago) link

Larriva facts I forgot about or didn’t know: was in movies Roadhouse & Dusk till Dawn; plus David Byrne’s True Stories . Also produced a Gun Club album

curmudgeon, Monday, 28 June 2021 15:34 (four months ago) link

Front man/vocalist Tito Larriva would go on to form his own band "Tito and Tarantula" where original Cruzados guitarist Steve Hufsteter would join him as part of his touring band

curmudgeon, Monday, 28 June 2021 15:38 (four months ago) link

Man, I loved the Plugz,back when they used to show up on New Wave Theatre, where I first encountered several groups on this and related threads--wiki: New Wave Theatre was a television program broadcast locally in the Los Angeles area on UHF channel 18 and eventually on the USA Network as part of the late night variety show Night Flight during the early 1980s...It was noted for showcasing rising punk and new wave acts, including Bad Religion, Fear, the Dead Kennedys, 45 Grave, The Angry Samoans and The Circle Jerks...he format was extremely loose, owing partly to the desire to maintain the raw energy of the live performances and partly to the limited production budget. The program was presented in a format dubbed "live taped", in which the action was shot live and the video was then interspliced with video clips, photos, and graphics of everything from an exploding atomic bomb to a woman wringing a chicken's neck.
The Plugz were one of the first, if not the first, DIY L.A. punk bands. But I also remember being frustrated by the Cruzados albums, on Arista, although they were on some show, maybe Don Kirshner's Rock Concert, and very hot, with a Link Wray-style guitarist who I think left pretty soon. I couldn't emjoy Tito & Tarantula in From Dusk To Dawn because it was such a bad movie, but Desperado would have to be better, and its soundtrack looks pretty promising.

dow, Monday, 28 June 2021 17:05 (four months ago) link

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