Be it Ever So Humble…
70,000 hits!? Seriously, who’d a thunk that I, of all people, would have the attention span to keep at it this long? I mean, I drift between projects like an Alzheimer’s patient so it is some kind of small wonder that I am able to focus enough to even hang this measly pap out to dry, not that I manage to do it in any semblance of a timely manner mind you (Case in point, this post) nor any semblance of decorum. Anyway, I had started piece-mealing what I thought was to be a completely random mix for the occasion only to realize upon closer scrutiny that these songs inadvertently shared the same vague antecedent, namely, each song just so happens to be late-sixties psychedelia buried at the ass end of a long-play. Yup, I’m talkin’ filler-diller, but with one small exception – these song kick ass!
No fancy arrangements; no lofty musical aspirations; just short, sweet and dirty like a Tai schoolgirl. Now, let’s open this fancy-ass can of soup-dejour w/ one of music’s more primal inspirations – misogyny! Yup, ‘Don’t Lie to Me Baby’ by Toby Ben got it in spades, as well as some of the worst harmonica since Bob Dylan strapped a tin Honer feed-bag to the hole in his face (Sorry Sister). Seriously, dig the harp at the end; it sounds like J.B. Lenore hackin’ the solo apart on ‘Mama Talk to Your Daughter’, except that it ain’t very good. Amazing!
Next up is ‘Blow My Mind’, a song so upbeat and confidant in it’s swagger that you’ll wanna smash your 8oz off on the edge of the bar and go hog-wild w/ the bottleneck. Who’d a thunk those little black eggs w/ the little white specks known the world over as the Critters could unleash such havoc? Hands off the twelve-string fellers. Stick to the Wurlitzer.
Your mind being sufficiently blown by now, we continue on w/ Syndicate of Sound’s extremely strange cover of ‘the Witch’ by the world-famous Sonics. Doesn’t quite live up to the original, but it sure is an odd choice, even for the B-side of a major label release.
Back in the Dylan camp we got we got Billy Blue and his weird-ass organ-fueled psych nonsense ‘Arcade Love Machine’, replete w/ nasally vocals and off-time delivery. Truth be told, I have no idea what the hell this guy is singin’ about, but that has never stopped me from enjoyin’ someone’s thread.
Continuing along the emerging downward spiral of pop depression we find the Paul Revere patterned ‘American Revolution’ and their moody, mid-tempo, ‘Show Me How to Cry’. Can’t say I’m a strange to such lessons, but I think I’ll keep my stoicism in check, just the same.
Funny story w/ this disc: I picked it up at a town wide garage sale (The self same one that produced a twenty-five cent copy of Dracula’s Deuce) from some crazy Cuban lady and her pack of vicious Chihuahua-dogs. When all was said and done I managed to walk out w/ a bunch of crazy regional Cuban psych, but that is a post of a different color.
I LUV this next track! Frenzy (Unrelated to Screamin’ Jay) off the Fugs second album sounds like a jug-band rhythm section headlinin’ a punk matinee @ the local VFW (Veterans of a Fucked-up World), only, last time I went to one of those some kid got his hip dislocated. Hopefully you, dear reader, fair better.
Winding this thing down is the Sir Douglas Quintet who, once famously photographed in silhouette to diminish the racial implications of their high-ass Mexican cheekbones, have taken up the smoke-wagon and bandolier against the Southwest themed Son of Bill Baety, proving once again how versatile the riff from ‘She’s About a Mover’ ultimately is. And finally we round this thing out with Them (or, Van Morrison, if his legal team is watching) and his incredibly moody, if not shamelessly copied (Animals, Anyone?) ‘I’m Gonna Dress in Black’. That’s right kids. You’ll get over that faze eventually, and then it’s Madras and Mustangs all the way!
That about does it for this installment of Filler Theatre. Hope you dig, and thanks to everyone for the patronage. Until next time...
Blues for the RedBoy presents: Filler Theatre Vol # 1