Remember, Friday is my last show of the Fall 09 Pledge Drive - let's get this shit done!

pledge drive fun!

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 Key:  Artist - Title - Notes

it's a crime scene: Jerry Lee Lewis slaughters his rivals in a
thirteen-song set that feels like one long convulsion. Recorded April
5th, 1964, this is the earliest and most feral of Lewis' concert
releases from his wilderness years, after he was banished from the
radio and after he had left Sun Records for Mercury, but before he
humbled himself and switched to country. Live at the Star Club is not country, boogie, bop or blues but showdown rock & roll, with no survivors but the Killer!

songcraft and vivid proletarian imagination defined a mythical American
South that feels as real and speaks more truthfully than any number of
attempts at telling the American story could ever hope to. If
songwriting worked like baseball Fogerty hit an unbeatable .900 between
1968 and 70. The list of home runs dominated most of CCR’s catalog with
more than a few triples, solid doubles a single or two and never once
did they strike out looking. One listen to Effigy (beautifully covered
later by Uncle Tupelo) from Willy and the Poor Boys will stand your
hair on end as Fogerty takes you on a road trip through an
insurrectionary, apocalyptic south. Plantations burning, majorities no
longer silent; heavy. CCR with Fortunate Son in 1970. Note to Bruce;
class anger isn’t always turned inward or left to fester!

  Between their name, stage introductions spoken in a uniquely twisted form of Spanglish, bizarre lucha libre
attire, and ongoing association with Latino rockabilly revivalist Big
Sandy, Spanish has always been a major facet of Los Straitjackets'
shtick. So it's little surprise that the Nashville-based
garage/surf/twang/trash rockers decided to head south of the border for
an all-covers album. You don't need to hablar español to
shimmy, shimmy, shake along with the quartet. Guest vocals from Cesar
Rosas of Los Lobos (who also produced the disc), Little Willie G. of
East L.A.'s vintage Thee Midniters, and Big Sandy bring a soulful strut
to these punchy stompers. True to form, liberties are taken with the
song titles: "Hang on Sloopy" is now "Hey Lupe," "Bony Maronie" comes
out as "Popotitos," and "Dizzy Miss Lizzy" inexplicably appears as "El
Microscopico Bikini." But that's all part of the fun as the masked men
and singers swing through hot-tamale versions of signature hits from
the Kinks, the Troggs, the Coasters, and others. Although the Fab Four
aren't here as songwriters, their spirit energizes rocking renderings
of "Dizzy Miss Lizzy," "Slow Down," and "Anna," all early Beatles
staples. The Straitjackets haven't entirely abandoned the instrumentals
from their own early years, as the scorching "Whittier Blvd." attests.
Slow dancers will swoon to ballads such as "Dejenme Llorar" and Barbara
Lynn's sublime "You'll Lose a Good Thing." Liner notes tell us that
Spanish covers of many of these tunes managed to become moderate hits
in the '60s and '70s, but it's safe to say these fresh versions will
spice up any carnival. Let the fiesta begin! --Hal Horowitz

When it was first released independently, "Loser" began receiving airplay on various modern rock stations, and the song's popularity eventually led to a major-label record deal with Geffin Records-subsidiary DGC Rrecords. After the song's re-release under DGC, the song peaked at #10 on the United States Billboard Hot 100 in April 1994, becoming Beck's first single to hit a major chart.

the one-time house band for legendary NYC club, CBGB’s.  Although it’s
difficult to label DeVille’s music, he had no problem fitting with the
punk and new wave artists of the era with his musical stew of R&B,
rock, cabaret, roots, blues, New Orleans, and country.  Mink DeVille as
a band was over by the mid ’80s, but DeVille continued to have a
successful career (at least at the cultish level) well into the 2000s.
Throughout his career, he worked with the likes of Brenda Lee, Dr. John, Mark Knopfler and Doc Pomus
to name a few.   It was discovered that DeVille had pancreatic cancer
in June of 2009 while being treated for Hepatitis C.  He died of the
cancer at the age of 58.

as I imagine, was a staple on the circuit like Johnny Talbot in the
60’s. Influenced by Blues, Gospel, Soul and Hillbilly music, he would
go on to release a string of records of the Galaxy Label. The Galaxy
label put out a variety of records by a nice cross section of artists.
Their roster would of course include Collins, but notables like the
Apollos, Cal Tjader, John Lee Hooker, and Little Johnny Taylor. They
would also put out sides by Johnny Lewis and the Gents, Ella Jamerson,
The Merced Blue Notes, and JJ Malone among others. This record was an
international hit, with a version done by Wilson Pickett. Some may
argue that Wilson’s version “bitch slapped” Roger’s original, but let’s
be real here people: Roger Collins was and is still a baaaaad man. I am
gonna ride for this side not because I don’t like the Wicked One, but
because I root for the underdog. Collins is just that. He would release
the party anthem of the Bay area, the aforementioned “Foxy Girl In
Oakland”, which I can not say enough about, and where Collins would
combine many of his musical influences. Apparently this Collins side is
a little bit easier to get ahold of, and I would definitely recommend
this side to any and all. I included it on the last FMF podcast Frank ‘N Beans,
and it was on a past mix by Tony C. Great minds think alike, and I
needed to share this side with all of you. See you Friday with another
dusty piece of 45 goodness. Keep Diggin’!

            Sutch really meant it -- rocking the vote to run
            for a seat in Parliament about 40 times while
            never garnering much more than 1,000 votes. But
            consistently losing is what has kept Sutch in the public's
            hearts and minds, rather like Susan Lucci.   Opposing parties may have laughed, but after the elections
            they did adopted Loony policies, including giving
            the 18-year-olds  the vote, abolishing the
            11-plus school exams, installing special  ramps
            on the backs of busses to help the elderly and disabled  and requiring passports for pets. Monty Python's lampooning
            of The Loony Party in one of its shows couldn't begin to approach the whimsy of some of Sutch's more loony causes
            like giving large pets the vote, getting rid of January and
            February so that winters would be shorter and demoting John
            Major to Private. His views on whether there should be more than one Monopolies Commission also gave many pause.  

Ditto for his incredible stage show. He took his name from Screamin' Jay Hawkins but put back the missing 'g' for the added gore. Like Hawkins, he'd make his stage entrance popping out of a coffin. But like a one-man Gwar, he'd employ severed heads, hatchets, knives and swords and buffalo horns
            to put a song across. Look, Sutch never could sing. But man, could he ever scream!  
While the bat's are a -flyin'  

            And the cat's are a-sighing  

            And the zombies are a-dancin'  

            And the skeleton's prancin  

            I get back into my big black coffin' till the following
            night...  
So bellowed Dave "Screaming Lord" Sutch on
            "My Big Black Coffin," the 1961
            horror-rock platter that was the closest he ever
            came to having a hit in his homeland. It was later renamed "Till The Following Night" to protect the innocent and
            ensure radio play, both to no avail. Back in
            those tame times, it wasn't unusual for the
            lily-livered men of the BBC to ban an artist off the
            airwaves because they didn't like the cut of his trousers.  Imagine the grimaces on their faces when they waded through the Screaming Lord Sutch and the Savages promo pack Decca Records sent them -- replete with an 8x10 glossy of a madman with shoulder length hair and fright white makeup, brandishing a
            twelve-inch dagger as he staggered hunchbacked through a snowy woods. The fools probably never even dropped a stylus on possibly the noisiest slab of rock 'n' squeal ever waxed.  

Produced by the enigmatic and equally mad Briton, Joe
            Meek, "Till The Following Night" sounds
            considerably more malevolent and mean spirited
            than "Monster Mash," the novelty  record
            which became a US graveyard smash for Bobby  "Boris"
            Pickett a year later. Instead of the eight seconds of  haunted house sounds that ushers in "Mash" Sutch and Meek plastered their opus with 40 seconds of unbridled wind and bubbling noises, lonesome tack piano, rattling chains, coffin lids
            squeaks and the most blood curdling screams and orgiastic moans this side of a Donna Summer single spun at 33 rpm.
            While Pickett got his kicks dancing the Mash, the more
            demanding Sutch required the blood of virgins at the very
            least.  Lock up your daughters:  

I got two horns on my head and a twinkle in my eye

            I got two feet of hair and it makes the chicks
            all sigh

            When I hit them with my great club, start to holler an' cry.

That was the Sutch touch. At a time when inoculated teen
            idols were ringing the cash registers here and
            abroad with sweater hugging blandishes, Sutch
            came on like Conrad Birdie and Jack the Ripper at
            the same time. Given this strategy, followups like
            "Jack the Ripper," "Dracula's Daughter" and "Monster In Black Tight" never stood a chance of getting airplay, except maybe on Radio Sutch, the first fort-based Pirate radio station he founded in 1964. But it mattered little, since the Savages were one of the most ferociously popular live acts on the British isle. Savages bassist Tony Dangerfield prided himself that the Savages could blow multi-hit record acts like the Searchers off the stage. He's quoted in Unknown Legends of Rock 'n' Roll saying "Nobody had the heart. It could have blown the whole thing if we had a hit record, you know? The mystique would have gone." Indeed!  

Although Brown was to be named after his father, his name was
mistakenly reversed on his birth certificate, and instead became James Joseph Brown.
 James Brown is of Native American, specifically Apache, descent through his father, and also of African American and Asian ancestry.
Brown and his family lived in Exreme poverty. When Brown was two years old, his parents separated after his mother left his father for another man.
After his mother abandoned the family, Brown continued to live with his
father and his live-in girlfriends until he was six years old. After
that time, Brown and his father moved to Augusta GA .

His father sent him to live with an aunt, who ran a house of prostitution.  Even though Brown lived with relatives, he spent long stretches of time on his own, hanging out on the streets and hustling to get by. Brown managed to stay in school until he dropped out in the seventh grade.

During his childhood, Brown earned money shining shoes, sweeping out
stores, selling and trading in old stamps, washing cars and dishes and
singing in talent contests. Brown also performed buck dancesfor change to entertain troops from Camp Gordon at the start of World War II as their convoys traveled over a canal bridge near his aunt's house. Between earning money from these adventures, Brown taught himself to play a harmonica given to him by his father. He learned to play some guitar from Tampa Red (who was "dating" one of the girls from his aunt's house), in addition to learning to play piano and drums from others. Brown was inspired to become an entertainer after watching Louis Jordon, a popular Jazz and R&B performer during the 1940s, and His Tympany Five in a short film performing "Caladonia".

Well now there's two

There's two trains runnin'

Well ain't not one, (ho!) goin' my way

Well now one run at midnight

And the other one runnin' just 'fore day

A runnin' just 'fore day

It's runnin' just 'fore day

Oh Lord

Sure 'nough then

Oh well

Hmm, (ho) (ho)

Somebody help me (ho) with these blues

Well now, she's the one I'm lovin'

She the one I do hate to lose

I do hate to lose

I do hate to lose

Oh Lord

Sure enough I do

Oh well

I been crazy

Yes I been a fool

I been crazy, oh all my life

Well I done fell in love with her

With another man's wife

With another man's wife

With another man's wife

Oh Lord

Sure 'nough I done

Oh well

Long, she's long and tall

'Til she weeps like a willow tree

Well now, then say she's no good

But she's all right

She's all right with me

She's all right

She's all right

She's all right

She's all right

invented supersonic-tempo'd blues-punk!! Including the chart-stomping
smash "Gloria" - plus, dig the wildness as they pulverize "I Got My
Mojo Working" and the wigged-out "I Just Want To Make Love To You,"
then take it one extreme step further with totally tough originals like
"Light Bulb Blues.

“...
‘Gloria’ . . . rocks like a band straight out of the teen clubs with a
total abandon and a raw energy that seems to explode right out of the
damn speakers. Equal parts Stones, Yardbirds, Who and snotty little
Chicago suburban bad boys, the Shadows could easily put the torch to
any Chess blues classics you want to hear...The SOK’s second album
found the group in a highly experimental mood. The heavy blues quotient
of their debut disc is replaced with a more folk-rock feel to several
of the tunes...the LP tracks are the storming rockers... But the bonus
track to die for is the single ‘I’m Gonna Make You Mine,’ arguably the
band’s finest hour, fueled by Tom Schiffour’s explosive drumming and a
guitar sound as nasty as you could possibly ask for...you really should
grab’em both and be one with the fuzz.” - discoveries
“...Each
record has its own character, remarkable considering the two were
released only months apart...Gloria is the Chicago teens taking on the
Stones approach to hometown blues giants (especially Muddy Waters),
while Back Door Men is Byrds-damaged and one step behind Jagger &
Co. as they transformed into raga-folk finger-pointers... Sound and
packaging are uniformly excellent. Do you need ‘em both? Oh yeah.” -
The Tampa Tribune

“...a truly brutal guitar sound that’ll shred your speakers in no time...Essential!”

- Orgie Newsletter

well known, even in Southern California where he lived for over 50
years, but Blues fans in the Los Angeles area and many other parts of
the country will immediately recognize the stage name
 Harmonica Fats. His harmonica playing, singing and
songwriting entertained countless fans for decades and earned him high
regards within the music industry. Thus, with the passing of
 Harmonica Fats on  January 3rd this year, we mourn the loss of a tremendous talent who contributed greatly to the continuing Tradition of the Blues.
    Originally from McDade, Louisiana,  Fats was the eldest son of 13 children and spent much of his childhood working on his grandparents' farm. He would receive a
new harmonica each Christmas and began to pick up the Blues from his grandparents' record collection, which included
 Peatie Wheatstraw,  Blind Lemon Jefferson and  Sonny
Terry. Although his roots were in the rural South,  Fats
felt the lure of the City and by 1946, he had made his way to L. A. It
was 10 years later that he began performing publicly, after he mastered
the harmonica during a long rehabilitation period caused by a serious
auto accident. He appeared with his own band under the name
"Heavy Juice" until 1961 when he made the R&B charts with
the original song, "Tore Up" and adopted the moniker  Harmonica
Fats.

film, and television. A pioneer of social satire, she has strongly
influenced such contemporary African-American comedians such as Richard
Pryor, Bill Cosby, and Whoppi Goldberg. Her comic character was that of
cantankerous old woman (created when Mabley herself was still young)
who wore a funny hat, had a big toothless grin, and uttered gags laced
with folk wisdom. She was born Loretta Mary Aiken into a large family
in Brevard, North Carolina in 1897. At a young age her farther forced
her to marry a much older man who she hated, she later used this
experience to create her signature joke cycle of putting down older
men. She changed her name after her brother was embarrassed to have a
sister in show business. The name Jackie Mabley came from her first
boyfriend whom she said took so much from her that the least she could
do was take his name. Jackie "Moms" Mabley rose to national recognition
as a standup comedian in the early 1960s. Moms adept at adapting the
hardships of her life into comic routines. She performed across the
nation, including appearances at Carnegie Hall, the Apollo Theatre, and
the Cotton Club. During her career Moms recorded more than twenty
albums of her comedy routines and appeared on various televisions
shows. A year after staring in the feature film Amazing Grace (1974),
Jackie " Moms" Mabley died in White Plains, New York on May 23, 1975.

For most older whites The Ed Sullivan Show would be
their
first introduction to Moms Mabley. By the time she reached the Sullivan
show, Moms' stage
persona matched her age. Just as character actor Walter Brennan started
specializing in playing old codgers while still in his twenties,
Mabley adopted the persona of an old woman early on. The frumpy manner,
floppy hat and a mouth that seemed to be consuming itself were based on
Mabley's own grandmother who had once been a slave. Mabley spoke of her
in an interview: "You
know who hipped me? My grandmother. This is the truth! She lived to be
118 years old. And you wonder why Moms is hip today? Granny hipped me.
She said, 'They lied to the rest of them, but I'm not gonna let you be
dumb.' One day she's sitting out on the porch and I said, 'Granny, how
old does a woman get before she don't want no more boyfriends?' She was
around 106 then. She said, 'I don't know honey, you'll have to ask
somebody older than me."

taking on the tones of a black preacher to wish a litany of disasters
upon Alabama governor George Wallace, then one of most prominent faces
of segregationism (of "segregation now, segregation forever"
infamy). Legendary singer/songwriter/producer "Black Godfather" Andre
Williams hooked up with comedian/singer Ray Scott to record a version
of the routine, in which Scott put all of his fervor into the
presentation with appropriate church organ accompaniment and background
vocalists adding a "church" feel. The result had a 1970 release as a
Checker 45 (backed with the countrified novelty "Lily White Mama, Jet
Black Dad"), which led to an LP the following year. I can understand
the LP being released - Chess had a strong series of party records
featuring Pigmeat Markham, Moms Mabley and others - but a 45 release
strikes me as slightly unusual, as I'm sure radio airplay for "The
Prayer" was non-existent

have published 30 collections of poetry and 2 novels. I have made about
100 independent LP records and painted over 2000 paintings. When I was
17 I had a bank account under the name of Kurt Schwitters. I lived on
the dole for 15 years.

                I am self taught.
                I do not like fashion culture.
                I do not hate anyone.
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