Simple Minded Harlequin

I have to admit, I'm kinda on the fence about this one.

On one hand, its has a certain charm in its willful irreverence and general whimsical tone. One the other hand, any intimacy and somber quality that might be expected from a folk / psych album is somewhat rudely disrupted by singer Elyse Weinberg, who sounds a lot like Gilda Radner doing her best weekend update

I understand that some people who marvel at ineptitude might take that as a ringing endorsement (Myself Included), but all quaintness aside, sometimes this chick is just downright unpalpable. She does have her moments though.

"Born and raised in Canada, Weinberg emerged from the same mid-'60s Toronto folk scene that launched the careers of Neil Young, Gordon Lightfoot and Joni Mitchell. And like some of her famous colleagues, she found herself in Los Angeles, although initially just to visit Young. Then she ended up staying a while with another acquaintance, Mama Cass Elliott of the Mamas & Papas. W

The recording of "Elyse" was, she {weinberg} says, "over the top," with "no one producing anything. It reflected the times." Indeed, a listen today reveals a certain inspired insanity that is partly accountable for such a superb, occasionally stunning LP, an attention-grabbing mixture of death-fixated medieval folk, imaginative pop arrangements and very 60's psychedelic rock. Weinberg and her session band, an L.A. group called Touch, sound as alluringly sloppy as Janis Joplin's Big Brother & the Holding Company on some tracks, then follow those up with meticulously arranged, affecting love songs. Lyrically, it's a timely record, as the gallows humor and mortality obsessions seem perfectly suited to the ugliness that pervaded American society as the Sixties drew to a close. You can practically smell the dreadful anticipation of Tate-LaBianca and Altamont in the song's less-than-rosy scenarios.

"Elyse" sold fairly well upon its release, reaching #31 on the Billboard album chart. Tetragrammaton performed its publicity duties, taking out full-page ads in Billboard and other publications. Harlan Ellison wrote about her in his column for the alternative paper the L.A. Weekly, and Newsweek featured her alongside Mitchell and Laura Nyro in a profile on the emergence of solo female songwriters, a rarity up until that point, Odetta and Joan Baez notwithstanding. She played big L.A. clubs such as the Troubadour and did her stints on the festival circuit. Weinberg even played Johnny Carson's "Tonight Show," which, considering her wild-haired appearance and intense music, must have been quite a trip for last-night TV America".

It’s hard to choose a track or two that is indicative of the album, as the record is all over the Middle-Earth map. I have attempted to approximate the Elyse experience with a trifecta of sounds, namely Psych, Country and Heavy.

Maybe this will finally satisfy my own Midieval mind about Mrs. Weinberg (I'm currently on the 'Yay' side of the 'Neigh').

If Death Don't Overtake Me - Elyse Weinberg

Iron Works for Rent She Cried - Elyse Weinberg

Mortuary Bound - Elyse Weinberg

Any Friend of Lucifer's is a Friend, Etc, Etc...

Grabbed this off the wall at a local record saloon on the strength of their first LP (self titled 1970). While just as heavy as it's predecessor, 1975's 'Blues' has a decidedly more prog vibe going on, especially an overindulgence of piano (Think Vladimir Horowitz) and strings (a seduction plaguing many a sophomore offering). While certainly a turn-off for most (myself included), 'Friend' uses such production to good effect, especially when coupled w/ an arsenal of minor discordant changes and the occasional falsetto vocal (a good five years before fashion dictated it, I might add)

"German group Lucifer’s Friend has its roots in one German and one English band. Peter Hecht (keyboards), Dieter Horns (bass and backing vocals), Peter Hesslein (guitar and backing vocals) and Joachim Reitenbach (drums) played until early 1970 together in a band called "German Bonds". In November 1970, the four of them started recording, it was after the recording of the backing tracks that John Lawton came in. He played with his own group "Stonewall" in the Top Ten Club in Hamburg. He recorded the lead vocals and in January 1971 they released their first album. John had previously released an album in 1970 on the German Decca label called Asterix with the members of German Bonds. It is also a fact that the members of "Lucifer’s Friend" recorded two other albums under the name of "Pink Mice" on the German budget label Europa. The band played classical themes on these albums in the style of the Dutch band "Ekseption". John Lawton was on these albums but was limited to backing vocals. It is also common knowledge that Hesslein and Hecht also worked for years with "The James Last Orchestra" and that John Lawton sang with "The Les Humphries Singers" when he was not recording with Lucifer’s Friend."

Here are two distinct offerings (one decidedly more theatrical than its Heavy counterpoint) from the hatchery that would one day loose 'Uriah Heep' on the head-cans of unsuspecting burn-outs.

Disclaimer: Those of you expecting to hear Glen Danzig on the enclosed track 'Mother' will be thoroughly disappointed, if not pleasantly surprised, but if you still need your fix, by all means...

Mother - Lucifer's Friend

Hobo - Lucifer's Friend

Ain't Much More Soul to Get Round' To

Let me start by stating the obvious, this cover is terrible. Seriously. Short of that, this post might seem somewhat uncharacteristic of one who splatter dashes his works w/ the brains of base and tuneless troubadours - but there is a lot to be said for meticulous musicianship, that, and sentimentality. And so I am a RedBoy for all seasons (Shhh. Don't tell a soul).

Much like Pete Best, I can't imagine being famous for little more than the sum of missed opportunities (Fuck the Beatles anywhoo). Terry Reid, having famously turned down Led Zeppelin’s overture to pursue his own solo career, tends to fall in the same general category, though unlike Mr. Best, who assuaged his 'Woulda, Coulda, Shoulda' by signing autographs at boat shows for 20 beans a flourish, Terry Reid actually made records - pretty fuckin' good records (Take that Mr. Robert "I wrote 'When the Levy Breaks" Plant).

1977's 'Seed of Memory' is a much more subdued affair than previous outings (Bang, Bang You're Terry Reid (1968), Terry Reid (1969), River (1973) and there is a decidedly modern (for it's time) country feel to an already AM friendly assortment of acoustic-based material. And while the title track, 'Seed of Memory' has made the rounds pretty mightily, receiving a much deserved shot in the arm by way of it's inclusion in the 'Devil's Rejects' soundtrack (Apparently 'Free Bird' didn't conjure enough pathos), I think my favorite cut would have to be 'Brave Awakening'.

It brings to mind Merle Travis' 'Dark as A Dungeon' - fashioned from the bones of some lazy Sunday, a vein of regret running just underneath.

It may not be 'Cashmere', but I never did have any use for such fine things.

Brave Awakening - Terry Reid

Note: I hope you Laddies appreciate this post, as I have inadvertently scratched the holy living shit outta this LP while burning it. Oh well. What's a little sacrifice among friends?

You Look Tense...

Here is another word-less wonder, this time from Heron, South Dakota. These kids got Mid West written all over them, even going so far as to hang this tune on the Bangar brand, a division of Garrett records and home of the illustrious Trashmen (undoubtedly an influence). As can be inferred from the title, Mr. Bee means business (They spell cats w/ a 'K' for Khrist's sake - animals!!!)

Straight outta 62', you can cut the Tension w/ a knife.

Tension - Jay Bee & the Kats

Look At Me Man...I'm Hangin' Five!!!

I've been in an instro state of mind for a fortnight, but alas, Mr. Devil has beat me to the punch (Kudos)

It's a shame that more people don't dig Surf (and instrumental music in general). I think it might be an attention-span thing (Like, no lyrics man?!?!). Either that, or the trappings are just too hoaky for the average fashion-bug. Most people forget that practically every progressive band of particular note cut their teeth on this shit. It is the bedrock upon which all guitar masturbation and heavy-metal dickery is founded.

Like a million bands of their ilk, I can one can only ever give you a time and a place - Newton Massachusetts, 1963. Under cut that with the fact that this is the Reveliers only release, and it may seem like the typical flash in the pan scenario. Be that as it may, I challenge you to spin these two tunes without seemingly smelling the salt air, and smiling at the thought of a boundless ocean...even if that ocean is on the East coast and indeed has garbage floating in it.

Hanging Five - the Reveliers

Patch - The Reveliers

Say It Ain't So Bo...

R.I.P. 1928 - 2008

Bo Meets the Monster - Bo Diddley

The Rocket Went So Fast, I Couldn't Hear the Blast!

My current fave.

Yeah, yeah, yeah, I know Garage Hangover got to it first. So sue me! I'm into even sharin'.

Doubtlessly inspired by the Apollo missions of the late 60's, this disc appeals to my love of both the cold, incalculable majesty that is outer space and the pissed off youth demographic. So irreverent that it could only truly be conceived by that rubics cube of non-linear thought - the teenage mind, 'Moon is one Heavenly-ass body.

Note: 'Moon', if you're listenin', you better give this kid his baby back before he breaks a Cuban-heel off in your crater-havin' ass

Straight outta Carolina (Does it really matter which one) circa 69' (or 70' if your a bettin' man), this is about as frantic as it gets.

Moon, Send My Baby - The Challengers

One man's trash is another man's TRASH!!!

I grabbed this 59' blues side on the strength (for lack of a better word) of the vocals alone. They’re bad, but in a good, down-home sincerity, kinda way. I initially figured it for general cheap studio ineptitude until reading the snippet below, which gave me a new-found fondness for an already awesome offering.

See Bobo Jenkins & the Big Star story:

"He {Bobo Jenkins} called his studio and record label, Big Star Records. The first group he recorded was the Walton Brothers, featuring ten year old, Clarence Walton on the song, The Cat” and on side 2, “Midnight” (BS002). He then recorded their father, harmonica player, ‘Little Daddy’ James Walton, who came to Detroit in 1945. Backed by his sons, the record was called “Come On Tell Me What You Got” and the flip side called “Shady Grove” (BS-001)".

So there you have it folks. It's a family affair of underage pickers and their mush-mouthed little bro. Sensational!

Note: A shiny new wooden nickel to whomever can tell me what the fuck this kid is sayin'!

The Cat - Clarence Walton & the Walton Brothers

Midnight - The Walton Brothers

Bold and Bracing, Lusty Tasting?!?!

Yup, its the Vandals

Nope, not those Vandals

Not these Vandals either

What we got here is a Grade-A wax advert, brought to you by the fine people @ Macy's and the 7-Up beverage company (Patent pending). 'Wet & Wild' is a refreshing romp though the gossamer hedgerows of the celebrated Lemon-Lime tonic, replete w/ some heavy Vox Continental action (1966 Natch!). I love how the lyrics are blatantly sexual - "Sooo Wet!"

'Mustang Georgie', likewise, is a steamin' 'Mersey Pie' of bubblegum, Muscle Cars and repressed anger - "My Mustang didn't cost me half as much as you!!!". Man alive, these Vandals are pissed! And while none of these tunes illicit even a remote response with regard to me buying either a Mustang, or a 7-Up, I am totally game for buyin' more kitchy pop-advertising records.

Wafflehouse...here I come!!!

Wet & Wild - Vandals

Mustang Georgie - Vandals

As Thick as Pea Soup...

The only info I could turn up on the enclosed platter was my own reference several posts back as to having bought it (That, and a bunch o' shit about Lee Andrews & the Hearts)...so I gonna go out on a limb and say that their ain't much of a story to bookend ole 'Foggy' here. Shame, seeing as how this non-descript disc has some of the craziest guitar work I have had the pleasure of diggin. Seriously though, this guy is so far out that he seemingly leaves the band (and meter) on a different plain!!! So take a cue from your friendly neighborhood axe-handler, and get lost in the fog...

Foggy - Harold Andrews & the Exciters

Sin...Ain't it a Shame.

If I might address my adoration of Gospel 78's for a moment...

The wonderful thing about gospel music is that the purveyors were more often than not just as guilty as the sermonized when it came to worldly matters. It is that same lapse in reason that allows me to present to you, w/ no small amount of irony, Rev. A. Johnson's 1952 oratory on divine disapproval - God Don't Like It.

Note: Don't worry, you don't have to believe in the God of Abraham to enjoy , you just have to believe that ole' A. J. believes - Faith by proxy

Surely Great Aunt Mahala would have balked at the notion "quit that drinkin' moonshine", but such is the duality of sin and sacrament that the classification of Guitar Evangelist became the general term for Bluesmen trying to balance their "Wine. Women & Laughter w/ some sobering "Sermons & Soda Water the day after".


Having dropped the proverbial "Bottleneck Bomb" on several non-secular (there's that word again) tunes from his own 'Angel' record label, native Floridian Anderson Johnson took a back seat to Mr. Henry stone w/ regard to a kinder gentler Gospel endeavor:

"Henry Stone began playing the trumpet in his teens, inspired by jazz great Louis Armstrong. Later at a military camp in New Jersey, he played in bands. After being discharged in 1946, he began selling records out of the back of his car in Los Angeles. Later he became a 78 rpm record salesman for the Bihari Brothers' Modern Records, traveling across the U.S. selling to jukebox owners. In 1952, he established his own recording studio, Crystal Recording Company, and started a blues label, Rockin', and a gospel music label, Glory, in Florida. A big hit on Glory was Rev. A. Johnson's God Don't Like It"

I would love to be able to tell you more about ole' A.J., but the past is just not that kind to a man of the seer-sucker cloth. Seeing as how 78's can be a fool's errand these days, check out the complete Anderson Johnson on the '1950's Gospel Classics' comp from Document Records.

Now that I have the 'spirit', maybe I can finally get around to finishing Mrs. JJB's Gospel Comp.

God Don't Like It - Reverend A. Johnson

If I Could Hear My Mother Pray Again - Rev. A. Johnson

The "Now" Sound of the Salvation Army!?!?

Grabbed this outa the Xian junk-box @ a local Waxiteria in Somerville. I honestly didn't have high hopes for it - as religious recordings tend to be painfully quaint no matter what horrors their salacious covers might suggest - but this LP was tracked in Asbury Park in 67', so I figure 'What the Hell'. True to form, most of the LP blows, and not in an empyrean trumpet kinda way. There is, however, on conspicuous holdout...


I don't know which is cooler, the fact that 'Sinkin' is a non-secular cover from 1912', or that a bunch of righteous pimple-pusses manage to desecrate said song right from the opening chord.

Way to go Bennies! Ya gone and made the baby Jesus cry!

Sinkin' - The Real Soul

A Tale Of A Strange Phenomena.

Goth Music, or Death Rock? It is a question that has plagued people for millennia. Ok, so I might be exaggerating a bit. Might not seem much of a difference, yet if you were to ask the average ghoul in full makeup on line @ a Quick-Check, them's could be fightin' words, or, more likely than not, illicit a muttering of curses to bookend their passive-aggressive deference.


Having seen the cultural devastation that is 'Emo' cutting itself discreetly into the fore-arms of the cultural lexicon, I find myself longing for spookier days in Bowery, when people didn't take themselves (and their haircuts) too seriously and post-modern vampirism was hitherto unknown. I am talking, of course, about a liberal dose of self deprecating humor - I am talking about 45 Grave.

"Formed from the remains of The Consumers by Rob Ritter / Graves of The Bags, Don Bolles of The Germs, Paul Cutler and Dinah Cancer (one of the best stage names ever), the most-underrated 45 Grave began as Vox Pop in the '70s, playing at the infamous and legendary L.A. punk institution the Masque. Driven by a gleeful twisted fascination with B-movies and gore-nography, Vox Pop eventually decomposed into 45 Grave, perhaps the very first gothic band. Though it would be near impossible to pinpoint the exact scope of their [bad] influence, suffice to say that 45 Grave far predate both the much-hyped Bat Cave movement in the UK and the formation of Christian Death and that Nikki Sixx even admitted in print that Motley Crue stole 45 Grave's easily-recognizable goathead-pentagram logo! But unlike those artists, who took themselves far too seriously, 45 Grave always had their tongues firmly planted in their gaunt, deathly-white cheeks : for them it was just good dirty fun."

What can I say? Any band that covers 'Riboflavin Flavored, Non-Carbonated, Poly-Unsaturated Blood' by Don Hinson is a fiend, er, friend o' mine. Enjoy some cuts off their lesser known posthumous sophomore album 'Autopsy'. Ole' Uncle Red is gonna throw a 'Y' incision your way. Catch a New-Wave to a shallow grave!

Anti Em - 45 Grave

Take 9 - 45 Grave

My Type - 45 Grave

"Say man...let's do the Wombat Twist."

Hands down, one of the greatest opening lines, nay, thee greatest opening line in music history. How could you not wanna do the Wombat Twist after such a gracious invitation, even if it meant getting crushed by a bus? This tune has been gettin' around since Hound days, and I really wish there was more of a whale of a tale to tell, but as is the nature of the inspired word that often occasions true genius, perhaps it is best that the story of 'Wombat Twist' remains shrouded in mystery. Still, in the interests of competent blogging, I feel compelled to educate any way I can. Here is some food for thought:


From the memoirs of the Rossetti family (1869)

"The beasts upon which Dante's affections were prodigalized were the first wombat and his successor the woodchuck. The second wombat, having died immediately, counts for little. No more engagingly lumpish quadruped than the first wombat could be found, and none more obese and comfortable than the woodchuck. They were both tame, especially the woodchuck; and Dante would sit with either in his arms by the half-hour together, dandling them paunch upward, scratching gently at their cheeks or noses, or making the woodchuck's head and hind-paws meet. With the wombat no such operation was possible. Each of them was his housemate for some time, and each expired without premonition. I do not assume that my brother wept over them, but certainly "his heart was sair." For the wombat (not having yet seen it) he wrote from Penkill Castle the following quatrain:

"Oh how the family affections combat
Within this heart, and each hour flings a bomb at
My burning soul! Neither from owl nor from bat
Can peace be gained until I clasp my wombat."

Indeed.

Wombat Twist - Glen & Christy

KILLLL MEEEEEE!!!

This here is one of my favorite records.

I've spun this bastard so many times that the flip is startin to bleed through. Perhaps it is the hypnotic influence of the elliptical label, but this R & B ditty appeals to my adoration of over-emotional non-sequiters and unrequited love.

Most people who are familiar w/ Don & Dewey dig their Specialty records input (Jungle Hop, Koko Joe, Big Boy Pete, Justine...and the list goes on),and while I whole heatedly second that emotion, I'm gonna cast my lot w/ this 1960 late comer. It's got a loose feel to it, and like the management here @ Blues for the RedBoy, It doesn't take itself too seriously amidst all the yelling and ivory pounding. But enough gushing. What of the legends themselves?

In 1954, Dewey Terry was a founding member of a group called The Squires while still in high school. He was later joined by a friend, Don Bowman (who would later change his name to Harris). In 1955 the Squires released a record on the minor Los Angeles-based label Dig This Record. In 1957 the group broke up, but Don and Dewey remained together.

Later that year they were signed by Art Rupe's Specialty Records label and for the next two years produced rock and roll, Both Don and Dewey played guitar, with Dewey often doubling on keyboards. When not playing guitar or bass, Don occasionally played the electric violin, a skill for which he subsequently became well known under the name of "Sugarcane" Harris. Legendary drummer Earl Palmer played frequently on their sessions.

Although Don and Dewey did not have any hits of their own, several of the songs that they wrote and/or recorded would appear on the charts later, performed by other artists. "I'm Leaving It Up to You" became a #1 hit for Dale & Grace in 1963. "Farmer John" was a hit by The Premiers, reaching #19 in 1964 after having been covered The Searchers a year earlier. "Koko Joe" (written by the then Specialty Records producer Sonny Bono), "Justine" and "Big Boy Pete" were a staple for The Righteous Brothers for many years. (Indeed, it has frequently been noted that the early Righteous Brothers act was quite closely based on Don and Dewey's.) Finally, "Big Boy Pete" became a minor hit in 1960 for The Olympics, reaching #50.

In 1959 Don and Dewey and producer Bono left Specialty Records for Rush Records, where they recorded a few songs but split up shortly afterwards.

Sooooo, short of Sonny Bono's considerable influence (!?!?), Don & Dewey managed to mash up some great R & B hash during their all to brief tenure together. The proof is in the 'Fidelity' puddin', so eat it up!

Kill Me - Don & Dewey

Sun Arise Pt 1.

I sometimes feel that Sun records is so inextricably linked w/ Rockabilly -and by proxy, a rather gallant notion of the atypical hayseed - that people often forget the fact that Sam Phillips made his bones on blues, country and gospel. Now, I know these genres aren't as exploitable as some would like, nor do they telegraph any particular haircut or soda-shop ethic, but all sensationalism aside, what early Sun releases do, rather beautifully, is serve to paint a fairly accurate portrait of the state of Memphis affairs at the time, mainly, the disparity of a general populace resigned to being broke, black, blue.

Take the 'Kid' here. All four of these sides are gut buckets full o' Juke joint impropriety, poverty, and alcohol - all backed up against a Jump-blues mid-tempo dirge. Emerson typifies the early fifties Sun entry, the likes which launched the careers of many famous, not to mention, unjustly forgotten musicians.

"Slashing blues, infectious RB, formulaic rock roll, moving gospel -- keyboardist Billy "The Kid" Emerson played all those interrelated styles during a lengthy career that began in Florida and later transported him up to Memphis and Chicago.

A 1952-53 stint in the Air Force found Emerson stationed in Greenville, MS. That's where he met young bandleader Ike Turner, who whipped Emerson into shape as an entertainer while he sang with Turner's Kings of Rhythm. Turner also got Emerson through the door at Sun Records in 1954, playing guitar on the Kid's debut waxing "No Teasing Around."

Emerson's songwriting skills made him a valuable commodity around Sun -- but more as a source for other performers' material later on. His bluesy 1955 outing "When It Rains It Pours" elicited a cover from Elvis a few years later at RCA, while Emerson's "Red Hot" (a takeoff on an old cheerleaders chant from Emerson's school days) became a savage rockabilly anthem revived by Billy Lee Riley for Sun and BobLuman on Imperial.

After his "Little Fine Healthy Thing" failed to sell, Emerson exited Sun to sign with Chicago's Vee-Jay Records in late 1955. Despite first-rate offerings such as the jumping "Every Woman I Know (Crazy 'Bout Automobiles)" and a sophisticated "Don't Start Me to Lying," national recognition eluded Emerson atVee-Jay too.

A prolific writer, Emerson penned songs for Junior Wells, Willie Mabon, Wynonie Harris, and Buddy Guy during the early '60s, often in conjunction with Willie Dixon. When recording opportunities slowed, Emerson played jazzy RB in lounges and supper clubs (guitarist Lacy Gibson was a member of his trio for a while). Emerson took Europe by surprise with a dynamic segment on the American Blues Legends 1979 tour."

As with most early Sun releases, sound quality generally suffers from inferior vinyl production (Sun discs sound almost as bad as Columbia 78's). For those doing fieldwork, steering clear of bootlegs can be a pain in the dick. A good tip the old timers stick to w/ regard to authenticity, is to keep your eyes peeled for push marks on the labels (three circular divots resulting from the production plant) as well as small type on the label's artist & title sections. And though these are good places to start, as always, there are exceptions to the rule, some single runs being pressed at different area plants.

Now don't take this diatribe as a stinger aimed at the hillbilly set. The awesomeness of the Sun records rockabilly roster goes without sayin'. It's just that this junk here screams for a six pack, a full moon and a front porch where you can get plowed and count your blessins' while they still count. So...watcha waitin' fo!!!

When It Rains, It Pours - Billy "The Kid" Emerson

Move, Baby, Move - Billy "The Kid" Emerson

Little Fine Healthy Thing - Billy "The Kid" Emerson

The Eagle Has Landed!

As if 'Stranded in the Jungle' and the 'Jumpin w/'LP weren't enough, this ex Cadet/Jack managed to bent the trend well into 1970's w/ some killer palm muted cluckin' and assorted muddy riffs. Though fairly late for a blues fix (1961), Taylor managed to slide one by just before the British took the reins .
From the pen of Bill Dahl:

"Soul-blues singer Ted Taylor unleashed his stratospheric, falsetto-driven voice on a wide variety of material during the 1950s, '60s, and '70s, his gospel heritage never far from the surface. Taylor first entered the studio as a member of the Cadets and Jacks, a Los Angeles R&B vocal group with two names that recorded for Modern. By the late '50s, Taylor was signed to Ebb, and a myriad of other imprints soon followed (notably Duke, where he waxed his first version of the sugary ballad "Be Ever Wonderful"), Okeh (his sides for the Columbia subsidiary were done in Chicago and Nashville), and Ronn, where he spent nearly a decade. A car wreck claimed his life in 1987."

Gone but not forgotten, look for Taylor's soul sides wherever greater platters are sold.

She's a Winner - Ted Taylor

Undead...but not forgotten.

While suburban NJ Punks were busy givin' everyone the 'Horror Business', Ex-Misfit Bobby Steele was coolin' his heels and countin' his toes just across the river as lead sing/guitarist of NYC's criminally under appreciated 'The Undead'. Struggling to emerge from out the shadow of his famous former employers, Steele makes a good go at maintaining a New York state of mind throughout the Undead's debut E.P. 1982's 'Nine Toes Later', named for an unfortunate incident in which Steele's big toe went bye, bye.

I must confess upfront, a certain bias in this boiler-plate, as I have many fond memories of watchin' the Undead hashin' it out at local record stores and basement shows. I also found it kinda funny that Steele was always stuck carrying his own gear, cane in hand (Shitty band mates, huh?).Anyhoo, pull up a toe and enjoy some Punk de jour from the poet who brought you such wisdom as 'We Don't Want the Poor in New York City" & "Put Your Clothes Back On"

Life of Our Own - Undead

Get While the Gettin's Good.

Spent some quality time w/ a bunch of assholes :) this weekend. After copious amounts of top-shelf tequila and salted peanuts, we managed to drag our sorry asses out to a record show near Lancaster P.A for some self-mortification. Bad haircuts, elitism and funny pants aside, soul and Doo-Wop, as usual, are the main events, but for an equal opportunity offender like myself, there are bargains to be had.

LPS:

Link Wray - Jack the Ripper, Rumble & Mr. Guitar (LP Swan 510)

45rpms:

Billy "The Kid" Emerson - Little Fine Healthy Thing / Something for Nothing (Sun 233)
Billy Riley - Flyin' Saucer Rock & Roll / I Want You Baby (Sun 260)
Rudy Grazell - Judy / I Think of You (Sun 290)
Ray Smith - Rockin' Bandit / Sail Away (Sun 319)
Harold Andrews & the Exciters - Foggy / Party Time (MRM 402)
Originals - Sleepless Hours / Anna (Jackpot 48012)
Meters - Sissy Strut / Here Comes the Meter Man (Josie 1005)
Swags - Rockin' Matilda / Blowing the Blues (Del-Fi 4143)
Delegates - Pigmy Part 1 / Pepper (no Pigmy Part 2 ???) (Aura 88120)
Noc-A-Bouts - Jungle Safari / Session (United Artists 126)
King Curtis & the Nobles - Soul Twist / Twisting Time (Enjoy 1000)

Being more than happy w/ my meager haul, there were indeed some dusky jewels floating around, including a heavy-hitter specializing in pre-war Vocalian blues. Some bird even had two (?!?!) copies of Devil's coveted Majic Ship LP ($1500 apiece my ass).

Oh well, sometimes its fun just to look.

Have Mercy?

Grabbed this in Somerville (Home of da Werps) awhile back. I was familiar w/ the 'Love' jam, but you coulda just about killed me dead w/ the flip 'Fire Ball'. This is some seriously thick imbruemnet. More Buzz than Fuzz, this tune shares a certain similarity w/ the equally awesome Scratchy (of Travis Womack) fame.

"Starting with a band he formed while attending Brandon High School, on the outskirts of Tampa Florida, Jack Sigler perfected his writing, arranging and performing skills. In 1968 George Roberts, a Hollywood producer heard Jack and his band, Mercy, rehearsing and he decided he wanted Mercy to appear in a film he was shooting in the Tampa area. The film was “Fireball Jungle”, the last movie that Lon Chaney Jr. made before his death. Also in the film is John Russell of TV’s “Lawman” fame and Durwood Kirby’s son, Randy Kirby. Jack & Mercy recorded a Jack Sigler original entitled “Love Can Make You Happy” and the rest is music history! “Love Can Make You Happy” was recorded at the old Charles Fuller Studio on MacDill Avenue in Tampa, the same place The Royal Guardsmen recorded “Snoopy Vs The Red Baron”."

For the whole truth & nothing but the truth, dig here.

I'm sure this tune has been double dipped before, but for the price of admission ya get the head, the tail...the whole damned thing. Enjoy!

Fire Ball - Mercy

Love (Can Make You Happy) - Mercy