Monday, January 1, 2018

In Memoriam, Part Three: Scott Putesky to Jessi Zazu

Scott Putesky a/k/a Daisy Berkowitz
Scott Putesky a/k/a Daisy Berkowitz
The same year that saw an orange-colored buffoon elevated to the highest position in the land also saw another 365 days of loss and tragedy. Last year was absolutely brutal in terms of musician deaths, and while 2017 tried its best to beat the Reaper, we still lost far too many talents from the ranks of the visionary. Our “In Memoriam” feature is so large again this year that I’ve broken it down into three parts, with each artist's age at death in parentheses. To follow is in tribute to the artists that have made the music we love...

In Memoriam, Part One: John Abercrombie to Dennis Dragon
In Memoriam, Part Two: Roger Ferguson to Paul O'Neill


Scott Putesky (49)
Better known as “Daisy Berkowitz,” Scott Mitchell Putesky was the longtime guitarist for shock-rocker Marilyn Manson, contributing to the development of the band’s Gothic-tinged industrial-rock sound from the band’s inception in 1990 through the 1996 album Antichrist Superstar. Taking his stage name from The Dukes of Hazzard’s Daisy Duke and serial killer David Berkowitz, Putesky left the band half-way through the recording of Antichrist Superstar due to creative differences with band frontman Manson (a/k/a Brian Warner). Over the past 20 years Putesky performed and recorded with a number of bands including Three Ton Gate, Jack Off Jill, the Daisy Kids, and under his nom de plume, Daisy Berkowitz, none of which achieved the notoriety of his original outfit. 

Larry Ray (63)
Larry Ray was founding guitarist of the retro garage-rock outfit Outrageous Cherry. Formed in 1991 in Detroit by Ray and guitarist Matthew Smith (of the Volebeats), Outrageous Cherry released a dozen albums featuring the band’s acclaimed mix of psychedelic-drenched rock, power-pop, and garage-rock, the most recent of which was 2014’s The Digital Age. Ray also played with the bands the Ivories and the Spike Drivers before his death from lung cancer.

George Reiff (56)
A talented bass player, the Austin, Texas based musician was best known as a member of Joe “King” Carrasco’s band, but also played with guitarist Charlie Sexton and a number of local outfits. Reiff was also a popular producer, working on albums by Ray Wylie Hubbard, Shinyribs, and others through the years.

Black Flag bassist C’el Revuelta
C’el Revuelta

C’el Revuelta (56)
Black Flag bassist C’el Revuelta passed away on May 3rd from brain cancer. Revuelta did not appear on any official Black Flag records, replacing Kira Roessler for the band’s 1986 tour with guitarist Greg Ginn, singer Henry Rollins, and drummer Anthony Martinez and appearing in the Dave Markey 1991 documentary film Reality 86’d. Revuelta returned in 2003 for a handful of Black Flag reunion shows with Ginn. Revuelta’s tenure with the band was captured by the bootleg Last Show album and on the Program: Annihilator compilation LP. A GoFundMe page has been set up to help pay for Revuelta’s medical expenses.

The Roches
Maggie Roche (65)
One-third of the vocal trio known as the Roches with her sisters Terre and Suzzy, Maggie Roche was a unique vocalist and songwriter who performed from the mid-‘70s until her death. The band is best known for their self-titled 1979 debut album, released by Warner Brothers, produced by King Crimson guitarist Robert Fripp and featuring the talents of Crimson’s Tony Levin and Synergy’s Larry Fast. The Roches would release a dozen albums over the course of their career, and Maggie would collaborate with sister Terre for a pair of albums, including 1975’s Seductive Reasoning for Columbia Records. Maggie also recorded a pair of albums with sister Suzzy for the Red House label in 2002 and 2004.

Dave Rosser (50)
Guitarist Dave Rosser became a member of the Afghan Whigs when the band reformed in 2014, contributing to their 2014 album Do To the Beast as well as the band’s 2017 album In Spades. Rosser had previously played in Whigs’ frontman Greg Dulli’s musical side projects the Gutter Twins and the Twilight Singers. Rosser had also served as a composer and guitarists on albums by Ani DiFranco, Joseph Arthur, and Tim Heidecker.

Johnny Sandlin (72)
Johnny Sandlin began his career as a musician as drummer with a band called the Five Minutes before joining Hour Glass with Duane and Gregg Allman. Sandlin would later work as a session musician in Miami, playing drums, bass, and guitar before moving to the other side of the glass to become known as a recording engineer and producer. The legendary producer helped shape classic albums like Johnny Jenkins’ Ton-Ton Macoute!, the Allman Brothers Band’s Brothers and Sisters and Eat A Peach, and Gregg Allman’s Laid Back solo LP. Sandlin became the de facto house producer for Southern rock specialists Capricorn Records, working on albums by artists like Elvin Bishop, Cowboy, Hydra, Delbert McClinton, Bonnie Bramlett, Wet Willie, and the ABB’s Dickey Betts. Sandlin also produced albums by artists as diverse as Widespread Panic, the Dixie Dregs, and Col. Bruce Hampton and Aquarium Rescue Unit.  

Mark Selby's More Storms Comin’
Mark Selby (56)
Born in Enid, Oklahoma but later relocating to Nashville, talented guitarist Mark Selby was an in-demand session musician, a hit songwriter, and a modestly-successful solo artist with several albums released by Vanguard Records, including 2000’s critically-acclaimed More Storms Comin’. Selby wrote a string of hits with bluesman Kenny Wayne Shepherd, including the award-winning “Blue On Black.” Selby also co-wrote the Dixie Chicks’ first #1 single, “There’s Your Trouble,” with his wife Tia Sellers, earning the Chicks a Grammy® Award. The pair also had hits recorded by artists like Wynonna, Trisha Yearwood, Jo Dee Messina, and Keb’ Mo’ and Selby lent his talents to recordings by Kenny Rogers and Wynona Judd, among others.

Barry Eugene “Frosty” Smith (71)
Barry Eugene “Frosty” Smith was a beloved member of the Austin, Texas music community. The talented drummer performed and recorded with local artists like Doug Sahm, Alejandro Escovedo, Soulhat, Roky Erickson, Greezy Wheels, Jimmie Vaughan, Delbert McClinton, and many others. Born in Bellingham, Washington but raised in the San Francisco Bay area, Smith made a name for his talents with his contributions to Lee Michaels’ self-titled 1969 album and 1970’s Barrel before co-founding the band Sweathog, which enjoyed a national hit in 1971 with the song “Hallelujah,” Smith recording a pair of albums with Sweathog before the band broke up. Smith would later play with Funkadelic, Rare Earth, and Sly & the Family Stone before moving to Austin for the lengthy and successful second chapter of his storied career.

Raging Slab
Elyse Steinman (N/A)
Founding member of hard rockers Raging Slab, guitarist Elyse Steinman passed away after a three-year battle with cancer. The guitarist performed and recorded with the band until her death. Described in a 1989 Guitar World magazine review as “Lynyrd Skynyrd meets Metallica,” Raging Slab was formed in 1983 and released a pair of indie label albums – 1987’s Assmaster and 1988’s True Death – before being signed by RCA Records, which released the band’s self-titled label debut in 1989. Steinman and band vocalist/guitarist Greg Strzempka purchased a farm in rural Pennsylvania with their RCA money and built “Slabby Road,” the band’s personal recording studio. Other members lived on the farm and they recorded a pair of albums – From A Southern Space and Freeburden – neither of which RCA would release, the label disagreeing with the band’s musical direction.

Producer Rick Rubin, an early fan of the band, would buy out the remainder of their RCA contract and Raging Slab recorded their Def American debut, Dynamite Monster Boogie Concert, with producer Brendan O’Brien. Rubin refused to release the band’s second Def American album, Black Belt In Boogie, and their third and final album for the label, 1996’s Sing Monkey, Sing!, was released on the re-named American Recordings imprint and would be under-promoted as the label lost its distribution deal. Waiting out the end of their contract, Raging Slab finally signed with Tee Pee Records for a pair of albums, the most recent being 2002’s Pronounced: Eat Shit. Over the course of a career that would span four decades, Steinman and Raging Slab would tour with artists like the Red Hot Chili Peppers, Monster Magnet, White Zombie, Molly Hatchet, and Guns N’ Roses.    

Rick Stevens (77)
Early-period Tower of Power member Rick Stevens provided lead and backing vocals to the Oakland band’s 1970 debut album East Side Grease and he would take over the microphone from Rufus Miller for the band’s 1972 breakthrough album Bump City. Stevens left Tower of Power after the release of Bump City, performing with another Bay Area band, Brass City, but he would fall prey to drug addiction and, in 1976, was convicted of three murders. Stevens would spend 36 years in prison, converting to Christianity and counseling other inmates before he was paroled in 2012.

Marvell Thomas (75)
The son of Memphis R&B legend Rufus Thomas and brother of Stax Records artist Carla Thomas, Marvell made a name for himself as a talented session keyboardist and producer. Thomas first started playing in the studio at age 17 and can be heard on Stax recordings by William Bell, Clarence Carter, and Wilson Pickett as well as his father and sister. Thomas also recorded sessions at Muscle Shoals with artists like Albert King, the Staple Singers, Little Milton, and Etta James, among others. Thomas co-produced and played on Isaac Hayes’ classic Hot Buttered Soul, toured with the Temptations, and would later become Peabo Bryson’s music director.

Allman Brothers Band's The Fillmore Concerts
Claude Hudson “Butch” Trucks (69)
Drummer Butch Trucks was a founding member of the Allman Brothers Band. Born and raised in Jacksonville, Florida Trucks lent his talents to a number of regional bands before joining the ABB in 1969. In spite of the legendary band’s many break-ups and reformations, Trucks and his steady, assured timekeeping was a constant presence throughout the Allman Brothers Band’s lengthy, 45 year career. Paired with fellow drummer Jaimoe (a/k/a Jai Johanny Johanson) in the band, the two percussionists created a unique rhythmic signature for the Allmans that was crucial to the band’s overall sound.

Trucks never strayed from the band’s fold to pursue a solo career, but after the ABB’s final bow in 2014, he led a band called Butch Trucks & Very Special Friends which subsequently evolved into Les Brers, which included Jaimoe and other ABB members. Trucks also performed with a band called Butch Trucks & the Freight Train Band. Trucks was also related to other musicians; his nephew Derek Trucks, was a longtime member of the Allman Brothers Band and later formed the Tedeschi Trucks Band. Another nephew, Duane Trucks, played drums for Widespread Panic and Hard Working Americans while Trucks’s son, Vaylor, plays guitar with Atlanta’s The Yeti Trio.

Robert “Bilbo” Walker (80)
Robert “Bilbo” Walker, Jr. was born in Clarksdale in the heart of the Mississippi Delta and, inspired by artists like Ike Turner, Muddy Waters, and Chuck Berry, taught himself guitar, piano, and drums. He began playing professionally as a teenager in and around Clarksdale, but began making trips to Chicago and forming a band with bassist David Porter. Walker inevitably moved to Chicago, where he lived and performed for 17 years. After playing a gig in Bakersfield, California Walker decided to relocate to Southern California, buying farmland and growing cotton and watermelons while playing shows in the region as well as in Chicago and Mississippi. Walker only released three albums over the span of his lengthy career, including the critically-acclaimed 1997 set Promised Land for the Rooster Blues label. Walker also appeared in the 2015 documentary film I Am The Blues, which also featured fellow Mississippi bluesmen Bobby Rush, Henry Gray, and Jimmy “Duck” Holmes.

Pete “Overend” Watts (69)
‘Overend’ Watts was a founding member of British rock legends Mott the Hoople, the bassist contributing to all seven of the band’s studio albums between 1969 and 1973. When Mott guitarist Mick Ralphs left for Bad Company and singer Ian Hunter left the band to pursue a successful solo career, Watts and drummer Dale “Buffin” Griffin formed the British Lions, the band releasing two moderately-successful albums in 1977 and 1982. Watts would later move into the studio, producing albums by Hanoi Rocks, Kirsty MacColl, XTC, and the Mission U.K. 

Leo Bud Welch's Live at the Iridium
Leo “Bud” Welch (85)
Mississippi Hill Country bluesman Leo “Bud” Welch enjoyed a notable last chapter in a career spent largely out of the spotlight. Working for better than 30 years on a logging crew, Welch honed his craft by teaching himself guitar, harmonica, and fiddle and playing parties, picnics, and juke joints; when the audience for blues music waned, Welch moved towards a bluesy Gospel style and began playing churches. “Discovered” by Bruce Watson of Big Legal Mess Records, Welch recorded his debut album, a Gospel-leaning disc titled Sabougla Voices, at the age of 82 years; a bluesier album titled I Don’t Prefer No Blues, co-produced by Watson and musician Jimbo Mathus, was released in 2015. Welch became an in-demand festival performer, and his Live at the Iridium album was released in early 2017 by Cleopatra Records. Welch was also the focus of the critically-acclaimed 2017 documentary Late Blossom Blues – The Journey of Leo “Bud” Welch.

John Wetton (67)
Bassist John Wetton was a prog-rock MVP who played in a veritable “who’s who” of British rock bands, lending his undeniable talents as a singer, songwriter, and bassist to bands like Family, King Crimson, Roxy Music, and Uriah Heep. Wetton was a co-founder of the late ‘70s prog-rock “supergroup” U.K. and of ‘80s-era hitmakers Asia, and was co-writer of the band’s huge international hit “Heat of the Moment.” Wetton was also an accomplished solo artist with better than a dozen live and studio albums to his credit and, as an in-demand session player, lent his bass to recordings by Roxy’s Bryan Ferry and Phil Manzanera, Family’s Roger Chapman, Brian Eno, Peter Banks (Yes, Flash), and Steve Hackett of Genesis, among others. Most recently, Wetton collaborated with his Asia bandmate Geoff Downes under the band name Icon.

Steve Wright (67)
Bassist with the Greg Kihn Band, Wright co-wrote a number of the band’s U.S. hits like “The Breakup Song (They Don’t Write ‘Em),” “Happy Man,” “Jeopardy,” and “Reunited.” Wright performed with Kihn from 1976 to 1996.

George Young (71)
Born in Scotland but moving to Australia as a teenager, George Young was a member of ‘60s-era rockers the Easybeats, writing classic songs like “Friday On My Mind” and “Love Is In The Air” with collaborator Harry Vanda. Young was also the older brother of AC/DC’s Malcolm and Angus Young, and he and Vanda would produce that band’s first few albums. Vanda and Young’s creative partnership extended beyond the Easybeats to include the ‘70s-era band Flash and the Pan, which scored a hit in 1976 with “Hey, St. Peter.” Vanda and Young also produced albums by John Paul Young (no relation), Rose Tattoo, and the Angels and had songs recorded by artists as diverse as David Bowie, Grace Jones, INXS, and Pat Travers, among others.

Malcolm Young
Malcolm Young photo courtesy AC/DC
Malcolm Young (64)
Although it wasn’t entirely unexpected, we’re still devastated by the loss of AC/DC founder Malcolm Young at the too-young age of 64 years. Young had been suffering from dementia and other health problems for years, which forced him to retire from the band in 2014. Young will be remembered as a hard rock and heavy metal pioneer, a talented rhythm guitarist who was the driving musical force behind AC/DC, the band he formed with his younger brother Angus in 1973. [read full obituary]

Jessi Zazu (28)
Jessi Zazu was one of two frontwomen for Nashville-area country-punk band Those Darlins. The niece of country star Steve Wariner, Zazu was raised in the industry and Those Darlins – whose sound is described by All Music Guide as “somewhere between Shonen Knife, the Shangri-Las, and the Carter Family” – would record three critically-acclaimed albums and tour with artists like the Black Keys, Wanda Jackson, and Jon Spencer as well as performing at SxSW and Bonnaroo. Blurt magazine did a feature on the band in 2013 after the release of their third album, Blur the Line.

New Music Monthly: January 2018 Releases

Welcome to the New Year (2018 for those of you keeping score)! After a couple months of diminishing returns on new music, January brings a tentative return to form for major and minor labels alike. Although the marquee names are few and far between, the new month brings new blues from stars like Tinsley Ellis and Curtis Salgado, reissues of classic LPs by Fleetwood Mac and 6 String Drag, and welcome archive releases by the Remains, Big Star, Rising Storm, and Frank Zappa and much, more more! So count up your pennies and get ready to buy some new tunes to get you through the January winter weather...

If we wrote about it, there'll be a link to it in the album title; if you want an album, hit the 'Buy!' link to get it from Amazon.com...it's just that damn easy! Your purchase puts money in the Reverend's pocket that he'll use to buy more music to write about in a never-ending loop of rock 'n' roll ecstasy! 

Tinsley Ellis's Winning Hand

JANUARY 12
6 String Drag - High Hat [vinyl reissue]   BUY!
Big Star - Live at Lafayette’s Music Room   BUY!
Black Rebel Motorcycle Club - Wrong Creatures   BUY!
Denny Doherty - Of All the Things: The Complete ABC/Dunhill Masters   BUY!
Tinsley Ellis - Winning Hand   BUY!
The Remains - Live 1969   BUY!
Rising Storm - Calm Before...   BUY!
Curtis Salgado & Alan Hager - Rough Cut   BUY!
Joe Satriani - What Happens Next   BUY!

Frank Zappa's Munich 1980

JANUARY 19
Black Label Society - Grimmest Hits   BUY!
Ry Cooder & David Lindley - Two Long Riders   BUY!
Fleetwood Mac - Fleetwood Mac [deluxe reissue]   BUY!
Joe Perry - Sweetzerland Manifesto   BUY!
They Might Be Giants - I Like Fun   BUY!
Walking Papers (w/Duff McKagan) - WP2   BUY!
Frank Zappa - Munich 1980   BUY!

Country Joe & the Fish's The Wave of Electrical Sound

JANUARY 26
Backtrack Blues Band - Make My Home In Florida   BUY!
Calexico - The Thread That Keeps Us   BUY!
Country Joe & the Fish - The Wave of Electrical Sound   BUY!
Ty Segall - Freedom's Goblin  BUY!

The Remains' Live 1969

Album of the Month:The Remains' Live 1969 is a long-overdue live album by the legendary '60s-era rockers. Recorded at the legendary Boston Tea Party, the band tears through a high-energy set list that includes covers of "Hang On Sloopy" and "Johnny B. Goode" along with a smattering of originals. The band had been broken up for better than two years but got together for a one-night-only show that is sourced from recently-discovered tapes and pressed on CD and vinyl for long-suffering fans.


Friday, December 22, 2017

Short Rounds: Flat Duo Jets, Focus, The Original Blues Brothers Band, Uriah Heep & John Wetton (2017)

Flat Duo Jets' Wild Wild Love
New album releases in 150 words or less…

Flat Duo Jets – Wild Wild Love (Daniel 13 Records)
Formed by singer/guitarist Dexter Romweber and drummer Chris “Crow” Smith, North Carolina’s Flat Duo Jets have been kickin’ the can since the mid-‘80s. The pair has cranked out psychobilly jams with reckless abandon on almost a dozen albums since the 1990 release of their indie debut, influencing artists like the White Stripes and the Drive-By Truckers. That hard-to-find Flat Duo Jets debut LP is included on Wild Wild Love, a double-disc compilation that also includes the band’s 1985 cassette-only mini-album In Stereo and a slew of studio outtakes. The Jets’ raw-boned sound and the primitive production afforded performances like “My Life, My Love” (with Dex channeling his inner Elvis), the ramshackle “Tribute to Gene” (i.e. Vincent), and the New Orleans-flavored “Strut My Stuff” make for hi-octane fun. The ‘outtakes’ disc has its sonic charms also, especially the rowdy surfabilly instrumental “Bumble Bee Boogie.” Well worth your time to check out... Grade: B   BUY IT!


The Focus Family Album
Focus – The Focus Family Album (In and Out of Focus Records)
An odd little bird, this The Focus Family Album collection – two discs with 20 tracks by the Dutch band best-known for its 1971 hit “Hocus Pocus.” Presented in an eight-panel digipak with artwork by Roger Dean, the set features ten tracks by Focus along with two solo tracks by each current band member, including founder Thijs van Leer and longtime drummer Pierre van der Linden, plus two by associated band Swing. Fifteen tracks are previously unreleased – an offering for the band’s cultish fans – but overall the results are mixed. The crooning solo vocals of van Leer are a little disconcerting while van der Linden’s slight voice is nevertheless disarming on his two charming efforts. The band’s signature jazz-flecked progressive-rock sound is expanded and unpredictable on tracks like “Santa Teresa” and “Victoria” but Menno Gootjes’ solo acoustic instrumental “Two-part Intervention” and Focus’s “Mosh Blues” prove him a knowledgeable and innovative guitarist. Grade: B-   BUY IT!

The Original Blues Brothers Band's The Last Shade of Blue Before Black
The Original Blues Brothers Band – The Last Shade of Blue Before Black (Severn Records)
John Belushi and Dan Aykroyd’s hit 1980 movie The Blues Brothers was a paean to their love of R&B, the film boosting the careers of idols Aretha Franklin, Ray Charles, and James Brown. The pair was backed by as talented a group of musicians as you’ll ever find, a few of which carry on as The Original Blues Brothers Band. The Last Shade of Blue Before Black is the latest from the Steve Cropper/Lou Marini fronted band, a fine fourteen-song collection of heartfelt soul and blues tunes that features guests like guitarists Joe Louis Walker and Matt “Guitar” Murphy as well as Dr. John and Eddie Floyd, whose “Don’t Forget About James Brown” is the booty-shakin’ prescription for funk we all needed. A raucous cover of “I Got My Mojo Working” is a joyous romp while the title track is a haunting blues ballad that does Jake and Elwood proud. Grade: B+   BUY IT!

Uriah Heep's Raging Through The Silence
Uriah Heep – Raging Through The Silence (Uriah Heep Records)
Critically-reviled but beloved by fans, Uriah Heep had the last laugh on rockcrit types as they’re still kicking out the jams for rowdy audiences worldwide almost 50 years since their forming. Raging Through The Silence is a super-duper 2-CD/DVD set documenting Heep’s “20th anniversary concert” in London, the 1989 show released on VHS once upon a time and long since forgotten. Touring in support of Raging Silence with fairly-new frontman Bernie Shaw on the microphone, the show offers up fan faves in the form of “Easy Livin’,” “Stealin’,” and “Look At Yourself” as well as lesser-known fare like “Gypsy” and “July Morning.” It’s a solid performance, with beat-keepers Lee Kerslake and Trevor Bolder providing a foundation for Mick Box’s stinging fretwork. Shaw’s vox are a little raw (he’s much better on newer recordings), but he hits all the notes and the show is a true celebration of rock ‘n’ roll. Grade: B   BUY IT!

John Wetton's Akustika/Akustika II
John Wetton – Akustika/Akustika II (Primary Purpose Records)
John Wetton was a true rock ‘n’ roll journeyman, the over-hyped and yet oddly underrated singer, songwriter, and musician enjoying a lengthy solo career along with notable stints in legendary bands King Crimson, Family, Roxy Music, and Uriah Heep. He also recorded excellent albums with Roxy’s Phil Manzanera and Geoff Downes (Yes), but Wetton is best-known as one of the co-founders of 1980s-era rockers Asia. The two-CD Akustika/Akustika II is a gem among Wetton’s solo albums, combining the 1996 live Akustika with a previously-unreleased 2005 performance, displaying Wetton’s immense talents in an intimate acoustic setting with just voice, guitar, and piano. The Akustika disc has some fine moments like “Voice of America,” “The Smile Has Left Your Eyes,” and “Heat of the Moment” but Akustika II includes chilling takes on Crimson’s “Starless” and “Book of Saturday.” With these stark, beautiful performances, Wetton strips prog-rock bluster down to its rawest heartbeat. Grade: A-   BUY IT!

Previously on That Devil Music:
Short Rounds, November 2017 - Tommy Castro, NRBQ, Radio Moscow & the Replacements
Short Rounds, October 2017 - Action Skulls, Arthur Adams, the Nighthawks & UFO  

Bill Kopp’s Reinventing Pink Floyd

Bill Kopp’s Reinventing Pink Floyd
It’s only fitting that our final news story of 2017 should be about friend and colleague Bill Kopp. A veteran music journalist and critic, Bill has written for publications like Blurt magazine, Goldmine, Prog (U.K.), Ugly Things zine, and Record Collector (U.K.), among others, as well as tending to his own excellent Musoscribe blog. Now Kopp has another lofty credential to add to the list – his first book!

On February 15, 2018 Rowman & Littlefield will publish Kopp’s Reinventing Pink Floyd: From Syd Barrett to the Dark Side of the Moon. In celebration of the 45th anniversary of the band’s groundbreaking Dark Side of the Moon LP (released in ’73), Kopp takes a look at Floyd’s reinvention after the departure of band founder Barrett as well as the musical evolution of the band that would result in the aforementioned breakthrough album that would subsequently spend an unparalleled 741 weeks on the Billboard charts (that’s better than 14 years!).

Kopp explores the band’s attempts to establish a fresh musical identity and style after the loss of their brilliant band leader, including the obstacles, experiments, creative missteps, and eventual development of the influential “Pink Floyd” sound that would result in a handful of bona fide classic albums (Wish You Were Here being my personal favorite). Kopp worked from archival interviews and reviews to put together a history of the band circa 1968 through 1973, adding information glommed from exclusive interviews with folks like Steve Howe (Yes), Jerry Shirley (Humble Pie), Davy O’List (The Nice), Robyn Hitchcock, and many others.

The result is a tome that every Pink Floyd fan or any lover of the classic rock era is going to want on their bookshelf! You can pre-order Revinventing Pink Floyd right now from Amazon.com...

Alice Cooper Guitarist Michael Bruce’s No More Mr. Nice Guy

Michael Bruce’s No More Mr. Nice Guy box set
Guitarist Michael Bruce was an integral part of the sound and fury that was the original Alice Cooper band. Co-writer of many of the band’s best-known and beloved songs, Bruce was around for classic Alice Cooper albums like Love It To Death, School’s Out, and Billion Dollar Babies. After Alice left the band to pursue solo stardom, Bruce and fellow bandmates carried on under the name Billion Dollar Babies at first, recording a single album titled Battle Axe. The guitarist would later forge a lengthy and impressive solo career that includes a half-dozen albums as well as a pair of recordings with the band Ant-Bee.

In February 2018, Gonzo Multimedia will be reissuing Bruce’s critically-acclaimed biography No More Mr. Nice Guy as part of a limited edition box set. The box includes the book, written by Bruce and his Ant-Bee bandmate Billy James, originally published in 1996 and recently updated; as well as a signed certificate, a 1996 interview CD, and reproductions of Alice Cooper group memorabilia. The box set is limited to 250 copies and is currently available for pre-order through PledgeMusic.

Michael Bruce’s No More Mr. Nice Guy
For Michael Bruce/Alice Cooper fans there are also a couple of other items on the Pledge Music page that might pique your interest. If you don’t want to pony up $67 for the deluxe box set, you can buy Bruce’s No More Mr. Nice Guy bio by itself for a very reasonable $13.50 (plus shipping) and/or pick up a copy of the very first show by Billion Dollar Babies on CD for a mere $12.15 (plus shipping). Performed in Flint, Michigan in 1977, Billion Dollar Babies included Bruce, Dennis Dunaway, and Neal Smith from the original Alice Cooper band as well guitarist Mike Marconi and keyboardist Bob Dolin. The book and the CD are available in a bundle for $24 (plus shipping).

In a press release for the box set, Bruce says “it’s not often we get a chance to redo, remake or, in this case, re-release a book...my book. It is with much thought, great enjoyment, many thanks, and heartfelt appreciation for family, friends, and fans that I present the re-release of No More Mr Nice Guy, a compilation of hilarious rock ‘n’ roll stories and life events that made me the man I am today.” Check it all out on the PledgeMusic website.

Sunday, December 17, 2017

CD Review: The Searchers' Another Night: The Sire Recordings 1979-1981 (2017)

The Searchers' Another Night: The Sire Recordings 1979-1981
The Searchers were one of the leading lights of England’s 1960s-era ‘Merseybeat’ scene, the band holding its own on the charts with contemporaries like the Beatles, the Hollies, and Gerry and the Pacemakers. Originally formed in 1959 in Liverpool as a skiffle band by guitarists John McNally and Mike Pender, the band scored its first chart-topper with a cover of the Drifters’ 1961 hit “Sweets For My Sweet.” They’d subsequently enjoy hits with covers of songs like Jackie DeShannon’s “Needles and Pins” and “When You Walk In the Room”; the Orlons’ “Don’t Throw Your Love Away”; and the Clovers’ “Love Potion No. 9.” Best known as interpreters of other artist’s songs, the Searchers nevertheless scored the occasional hit with original tunes like 1965’s “He’s Got No Love” (#12 U.K.).

By the end of the 1960s, the hits had dried up as rock ‘n’ roll moved towards harder and more progressive directions. The Searchers continued to tour throughout the ‘70s, however, performing contemporary songs by artists like Neil Young and Loggins & Messina alongside their ‘60s hits. When rock music began to turn back to the past as younger ‘new wave’ artists incorporated ‘60s-era sounds and influences into their songs, the Searchers had hung around long enough to take advantage of the musical evolution. They were the real deal, ‘60s-era music-makers who had updated their sound with enough of a contemporary edge to land the band a deal with Sire Records. The Searchers recorded a pair of excellent albums for Sire – 1979’s The Searchers and the following year’s Love’s Melodies – both of which stand proudly among the best power-pop releases of the era. Both of these long out-of-print albums have been combined as the two-disc Another Night: The Sire Recordings 1979-1981 by archival specialists Omnivore Recordings, with seven bonus tracks added to the original albums.

The Searchers’ Another Night: The Sire Recordings 1979-1981


The Searchers' The Searchers
The Searchers’ trademark jangly-pop sound was tailor-made for the new wave ‘80s, and their ‘60s rock pedigree should have served them well in the new decade, but an audience was hard to find in spite of the overall high quality of the Searchers’ self-titled 1979 album. Take, for instance, the band’s cover of the Will Birch/John Wicks gem “Hearts In Her Eyes,” as delightful a slab of shimmering power-pop as will ever melt your ears. Pender’s wistful vocals are as smooth as honey and his and McNally’s cross-cutting guitars shine with the light of a thousand suns as the rest of the band joyfully bangs along with reckless aplomb. Wicks recorded the song a year later for the Records’ sophomore album, and while both performances will heal your soul, when released as a single, the Searchers’ version failed to move the needle at all.

The only other single released from the album – the kinetic “It’s Too Late” – also failed to chart in spite of its delicious start/stop dynamic, bouncy harmony vocals, and infectious melodic hook. The performance sounds like a new wavish take on British rockers Argent (with a dash of the Zombies, perhaps…), the band coming full circle artistically while delivering a solid radio-ready ‘should-have-been-a-hit’ that easily trounces rivals, er…contemporaries like the Babys, Elvis Costello, Joe Jackson, Split Enz, Squeeze, the Rezillos, the Undertones, the Tourists, the Knack, and the Cars…all of which released similar ‘60s-flavored power-pop LPs during the year. The band’s cover of Nick Lowe’s transcendent “Switchboard Susan” (penned by his pub-rock pal Micky Jupp) is more languid and lusty than Lowe’s original and falls short of the mark only because Lowe’s reading is so definitive.

The ignorance of the record-buying public notwithstanding, there’s a heck of a lot of great music to be found on The Searchers. “Feeling Fine” is an upbeat rocker with downbeat lyrics about a lost love, the song’s protagonist lying to himself above the din of twangy guitars and propulsive drumbeats. A cover of Tom Petty’s “Lost In Your Eyes” takes the song into the stratosphere, Pender’s echoed vox achieving an ethereal tone while guest Bob Jackson’s gorgeous piano underlines the song’s pathos. The band does Dylan equally proud, a cover of the Scribe’s “Coming From The Heart” provided a heartfelt reading of the lyrics above lush instrumentation. Among the band’s few original tunes, “Don’t Hang On” offers a rockabilly heartbeat with the soul of the performance fueled by bassist Frank Allen’s jaunty vocals while “This Kind of Love Affair” buries Pender’s vocals beneath swirling guitar licks and heavy rhythms that do nothing to dislodge the song’s undeniable melodic hook.

Play For Today


The Searchers' Love's Melodies
In spite of its feeble chart showing, The Searchers evidently garnered enough critical acclaim that Sire put the band back in the studio for a second shot at the brass ring. Released in the U.K. as Play For Today and stateside as Love’s Melodies in 1981, the album displayed the same incredible mix of inspired cover tunes and timely originals as its predecessor. The album is best-known for its lead-off single, a cover of Ducks Deluxe’s “Love’s Melody.” Written by that band’s Andy McMasters – a skilled songwriter in a band that included similar major talents in Sean Tyla and Nick Garvey – the Searchers imbue the song with a larger-than-life performance, Pender’s lovelorn vocals teetering atop lush instrumentation and supported by lofty backing harmony vocals and Billy Adamson’s ricocheting snare-drumbeats. The band’s original “Another Night” was the album’s second single, a somewhat atypical choice of songs with skewed guitars, chaotic harmonies, and angry drumbeats propelling an otherwise wiry rocker.

Much like its predecessor, Love’s Melodies/Play For Today offers a plethora of solid cross-genre performances all anchored by the band’s innate sense of melody and the twin jangle-pop guitars of Pender and McNally. The album’s opening track, “Silver,” is as maximum ‘new wave’ as a band could crank out at the time, the song challenging similar outfits like Blondie, the Rubinoos, or Katrina & the Waves with a delightfully 1960s-era pop/rock vibe comprised of glimmering guitar strings, on-point harmonies, and solid percussion work. “Radio Romance” comes courtesy of the band’s pal Will Birch (The Records), the song seemingly handcrafted for FM airplay with taut fretwork, whipsmart lyrics, and a fierce jangly sonic vibe that could blast effortlessly above the din from a car radio. The Searchers’ choice of cover songs are among the best I’ve seen and heard in four-and-a-half decades of poring over rock ‘n’ roll vinyl and they picked some tasty treats for Love’s Melodies/Play For Today, starting with John Fogerty’s “Almost Saturday Night.”

Performed with the same sort of ramshackle charm as the original, Pender’s vocals on “Almost Saturday Night” mimic those of Fogerty’s original as the band lays down a mighty rhythmic bedrock embroidered upon by twangy guitarplay. Big Star’s “September Gurls,” recorded years before the Chilton revival, captures the magic of the original with echoed harmonies and melancholy guitars matched by rollicking percussion. Whereas The Searchers disc included bonus tracks in the form of alternative mixes of “It’s Too Late,” “Love’s Melody,” and “Silver” that display a different facet of the band’s talents, the bonus tracks appended to Love’s Melodies include the engaging band original “Changing,” the B-side to the album’s first single, while John Hiatt’s “Back To The War” is an electrifying take on a then-obscure songwriter. Released as a B-side to the “Another Night” single, the song’s angular dynamics and Pender’s vocal approach make it the most ‘new wave’ sounding tune they had recorded. The band liked Hiatt’s material so much that they also recorded his “Ambulance Chaser,” unreleased until now, the song a definite stylistic throwback with charming vocals and distinctive instrumentation that would sound more at home in 1968 than 1980.

The Reverend’s Bottom Line


With The Searchers and Love’s Melodies/Play For Today, the band reached the creative pinnacle of their lengthy career. More than mere interpreters of song, the Searchers imbued every recording with their own unique sound – gorgeous vocal harmonies, innovative use of twelve-string guitar, driving rhythms – making each performance their own, no matter who wrote the song. It’s no different with these two albums, the band rising to the occasion to deliver a pair of power-pop treasures that, while sorely overlooked at the time, nevertheless proved why the Searchers were a major influence on everybody from the Byrds and Big Star to Tom Petty and R.E.M. If you’re a fan of any of these bands, you owe it to yourself to discover the Searchers. Grade: A (Omnivore Recordings, released December 8, 2017)

Buy the CD from Amazon.com: The Searchers’ Another Night: The Sire Recordings 1979-1981




Cleveland Rock Royalty The Choir’s Unreleased Album

The Choir's Artifact
Years before the Raspberries would tear up the charts with early ‘70s hits like “Go All The Way,” “I Wanna Be With You,” “Overnight Sensation (Hit Record),” and other tunes, its members performed with other Cleveland, Ohio area outfits like the Choir and Cyrus Erie. The Choir is especially notable as future Raspberries band members Wally Bryson (guitar), Dave Smalley (guitar/bass), and Jim Bonfanti (drums) were members; future Raspberries frontman Eric Carmen, a member of Cyrus Erie, had auditioned for the Choir but was passed over in favor of another vocalist.

A popular garage-rock outfit, the Choir is largely remembered for the band’s first single, the minor hit “It’s Cold Outside.” Released in December 1966, the song was featured on the garage-rock compilation Pebbles, Volume 2 and would subsequently appear on a number of dodgy import comps of garage and psychedelic-rock. Although the band would never release a full-length album during its tenure (roughly 1966 through 1970), Bomp! Records released a five-song self-titled EP in 1976, and Sundazed Records released Choir Practice on CD and vinyl in 1994, the album featuring the five songs from the previous EP along with a number of previously-unreleased tracks.

On February 16, 2018 Ominivore Recordings will release Artifact: The Unreleased Album, featuring ten tracks recorded by the Choir in 1969 and making their very first appearance in any format. Restored in the studio by Tommy Allen and Ducky Carlisle, who worked on the Raspberries’ recent Pop Art Live, the album includes new liner notes by Eric Carmen and Choir band members Denny Carleton and Phil Giallombardo as well as a Choir family tree and rare photos from the band’s collections.

In his liner notes for the album, Eric Carmen wrote, “I went to see the Choir when I was 16, and immediately wanted to join their band. They were a great group that had many lives and many members. This album was made by one of the last and final versions of the band. This recently discovered recording is sure to rekindle fond memories for the many fans of the Choir, including myself. Give it a spin, and enjoy a special piece of Cleveland rock history.”

Also on That Devil Music: The Raspberries’ Pop Art Live CD review

Buy the CD from Amazon.com: The Choir’s Artifact: The Unreleased Album


Sunday, December 10, 2017

Archive Review: Goodbye Nashville Hello Camden Town (2007)

Goodbye Nashville Hello Camden Town
Aaah...pub rock. A uniquely British construct – albeit one based on American music styles – pub rock represented a “back to the roots” aesthetic years before punk would rear its (often times) ugly head. Make no mistake, however…punk rock was heavily influenced by the pub rock scene, and the bands of the “Revolution of ‘77” benefited greatly from the trailblazing efforts of their forebears in opening up pubs and clubs to live performances (and rock music).

Let’s not get ahead of ourselves, though, shall we? As reflected by David Wells’ comprehensive liner notes for Goodbye Nashville Hello Camden Town, a two-CD set subtitled “a Pub Rock anthology,” the origins of the so-called movement lie with the American band Eggs Over Easy. The band had traveled to England in late 1970 to record an album with producer Chas Chandler, but the coming of the new year found them stranded in the country with no record deal. Convincing the management of the Tally Ho pub in the London neighborhood of Kentish Town to allow them to play on normally slow Monday nights, Eggs Over Easy quickly developed a loyal following.

Goodbye Nashville Hello Camden Town


Among the growing legion of Eggs Over Easy fans were several musicians looking for a new direction. Nick Lowe and Brinsley Schwarz attended many an Eggs Over Easy show at the Tally Ho, even sitting in with the band at times; other fans included ‘60s U.K. rocker Zoot Money and members of bands like Bees Make Honey and Kilburn & the High Roads. When Eggs Over Easy’s work visas expired, the band returned to the states, releasing a single album (Good ‘N’ Cheap) in 1972 before breaking up and disappearing into the rock ‘n’ roll ether.

Eggs Over Easy's Good 'N' Cheap
Although Eggs Over Easy would quickly slip into obscurity, the seed that the band had planted with its Tally Ho residency took root and sprouted into dozens of bands suddenly emancipated from the constraints of expectations. Providing an attractive alternative to the prog-rock and singer/songwriter fare of the day, pub-rock represented a welcome “back to the country” vibe, bands like Brinsley Schwarz (with Schwarz and Lowe), Bees Make Honey, Chilli Willi & the Red Hot Peppers, Dr. Feelgood, and others pursuing original mixes of rock, country, blues, and bluegrass, performing in receptive pubs and clubs in and around London. None of the bands got rich, or even made a lot of money, but they enjoyed playing the music they wanted to play while honing their skills, and the top-of-the-card performers made daring, original music based on old standards that hits the ears hard, even 30+ years later.

From start to finish, Goodbye Nashville Hello Camden Town provides a fascinating and entertaining glimpse into the world of pub rock. Kicking off with the title track, Chilli Willi & the Red Hot Peppers sound like Gram Parsons fronting the Flying Burrito Brothers with a British accent, the song’s innocence overwhelming its tentatively twangy instrumentation. The band’s “Choo Choo Ch’Boogie” swings with a Western flair and jazzy undertones, kind of Cab-Calloway-meets-Bob-Wills in good old London town. Pioneers Eggs Over Easy deliver the simple, charming, countryish “Runnin’ Down To Memphis,” the band’s only cut on the anthology.

The Pub Rock Scene


Fronted by Ian Dury, who would go on to become a U.K. punk icon, Kilburn & the High Roads mixed a British Dance Hall sound with Dury’s keen lyrical observations and slightly-skewed sense of humour. Kilburn’s “Billy Bentley” is pretty snazzy while the band’s other cut here, “Rough Kids,” is a horn-driven blast of fresh air with honky-tonk piano and screaming guitars. Bees Make Honey could have just as easily come from Laurel Canyon circa 1971, with laid-back songs like “What Have We Got To Lose” showcasing delicious harmonies while “Indian Bayou Saturday” mixes Levon Helm and The Band with Goose Creek Symphony (?!). Perhaps the best-known pub rock band of them all, Brinsley Schwarz, is represented here by a single tasty cut, the free-flowing roots-rock “Country Girl.”

Brinsley Schwarz's Nervous On The RoadOne of the most interesting aspects of the short-lived pub rock phenomena was its inclusive nature; it was a big tent over a small scene, and everybody was welcome. Because of the honest, sincere nature of the music, old ‘60s rockers like Zoot Money, Mick Farren, Albert Lee, Stray, and McGuiness Flint found a new home within the genre. Session guitar-for-hire Lee, who was also part of the unabashedly country-honk outfit Country Fever, gets to show off his six-string skills with the transcendent “Best I Can.” Money’s “Arkansas” sounds like a throwback to the hillbilly ‘50s, a low-fi production with sparse instrumentation and wickedly somber vocals. Featuring members of Manfred Mann and John Mayall’s bands, McGuinness Flint pursued a guitar-driven rock sound with just a trace of rootsy influence on the band’s rollicking “Ride On My Rainbow.”

Some pub rockers would go on to find significant careers in the coming punk revolution. Aside from the aforementioned Dury and Brinsley Schwarz’s Nick Lowe, the raw, stripped-down sound of bands like Eddie & the Hot Rods (kicking out the jams here with the uber-cool garage rock vibrations of “Do The Monkey Man” and “All I Need Is Money”) or the Count Bishops (best known for their haunting Link-Wray-meets-Screamin’-Jay rave-up “Train Train”) finding a receptive audience for their hard-rocking tunes among the Mohawk-tressed masses.

Brinsley Schwarz, Dr. Feelgood & the Fabulous Poodles


The scene also embraced bands that didn’t subscribe to the typical pub rock band’s rustic country sound. The Fabulous Poodles, for instance, didn’t really fit in anywhere with songs like the boisterous “Roll Your Own” or a spot-on soulful cover of the Amazing Rhythm Aces’ “Third Rate Romance” offering slightly-tilted guitar, off-kilter vocals, and a sound that was more rock than roots. Elevated to royal status by pub rock fans, the influential Dr. Feelgood brought an R&B influence to the genre, although the band’s lone song here, “Roxette,” could pass for a ‘60s-era British blooze-rocker with distorted guitar and some dirty mouth harp work. Raucous ‘50s-styled rockabilly was a favorite route for many on the scene, the Brunning Sunflower Band crossing Jerry Lee with Duane Eddy on the track “Good Golly Miss Kelly” while Matchbox, which would kick around well into the ‘80s, kicks out the spirited and electric “Rock’n’Roll Band” here. Another ‘60s-era holdover, the Pirates, evince an anarchic blue suede sound with their rocking “Gibson Martin Fender” (an off-the-tracks live version, no less).

The Fabulous Poodles' Mirror Stars
Out of the 49 total tracks on Goodbye Nashville Hello Camden Town, there are a lot of lesser-known bands included on the anthology that nevertheless made good music and deserve mentioning, such as the Cartoons, Country Fever, Mickey Jupp, and the Kursaal Flyers. Late-period pub rockers like the Tyla Gang or Nine Below Zero made more of a splash amidst late ‘70s/early ‘80s audiences loosened up by the triumphs of punk rock while others, cult favorites like the Downliners Sect or Unicorn, recorded albums that have become a sort of holy grail to collectors who prefer a little well-intentioned obscurity as they dig through the crates.

There are some obvious omissions hereabouts, most notably Ducks Deluxe, who had a unique Chuck Berry-influenced boogie-rock sound and which later provided musicians to both the Tyla Gang and Graham Parker’s Rumour; the Motors, who scored several U.K. chart hits; soulful vocalist Frankie Miller, whose oeuvre would fit firmly into the pub rock milieu; and even Joe Strummer’s pre-Clash band the 101’ers. I would have dropped the third Kilburn & the High Roads song and included a second Dr. Feelgood cut, but it would be easy to have bumped the anthology up to a third disc considering the wealth of material available.

The Reverend's Bottom Line


Given the relative scarcity of much of this excellent music, however, and the unfamiliarity of American rock fans with most of these bands, Goodbye Nashville Hello Camden Town does a fine job of documenting the pub rock genre. The anthology provides newcomers with a valuable roadmap to bands worth checking out and, indeed, many of the bands mentioned here have import albums readily available. If you’re looking for an antidote to the brutal reality of what passes for modern rock these days, or if you’re a roots-rock fan thirsty for something new, I’d heartily recommend checking out the pub rock scene; this anthology is as good a place as any to start... (Castle Music UK, released April 16, 2007)






Country Joe & the Fish Celebrate the Summer of Love

Country Joe & the Fish's The Wave of Electrical Sound
Folk-rock outfit Country Joe & the Fish – formed in 1965 by singer/songwriter Country Joe McDonald and guitarist Barry “Fish” Melton – are best known for their infamous August 1969 appearance at Woodstock, McDonald leading the audience in shouting “The Fish Cheer” (“gimme an ‘F’…”) before launching into a memorable performance of the anti-war “I-Feel-Like-I’m-Fixin’-To-Die Rag.” One of the most innovative and popular bands in the San Francisco area, Country Joe & the Fish were steeped in the psychedelic-rock of the time, but tempered their flower-power excesses with elements of folk, blues, and even jazz to underscore their often politically-charged lyrics.

Country Joe & the Fish released their first two albums during 1967, their debut Electric Music For the Mind and Body appearing just in time for the “Summer of Love” while I-Feel-Like-I’m-Fixin’-To-Die, recorded in July, bookended the debut LP later that year. Both albums were groundbreaking, influential efforts by a then-veteran band, musically-adventurous with McDonald’s songs offering up intelligent political commentary and satire. On January 26th, 2018 Craft Recordings will celebrate Country Joe & the Fish’s “Summer of Love’ with the release of a limited-edition vinyl box set, The Wave of Electrical Sound. Both re-mastered albums will also be reissued as stand-alone LPs and have already been released digitally on iTunes and elsewhere.

Country Joe & the Fish's The Wave of Electrical Sound
Limited to 2,000 copies worldwide, The Wave of Electrical Sound is a four-album box set offering both mono and stereo version of Electric Music For the Mind and Body and I-Feel-Like-I’m-Fixin’-To-Die pressed on audiophile quality 180-gram vinyl. The albums are packaged in old-school-style tip-on jackets, with the mono versions of both albums sporting rare alternative cover artwork while the stereo versions of both feature replicas of their original cover art. The box set also includes a bunch of cool band memorabilia from the era including replicas of The Fish Game, a Fish Fan Club book, and a Fish calendar designed by Tom Weller as well as a DVD of How We Stopped The War, a 30-minute documentary film on the band and a 24-page book with rare photos and artwork and new liner notes from writer, producer, and musician Alec Palao.

In his liner notes for the box set, Palao writes, “what makes both albums Country Joe & the Fish recorded in 1967 so significant is not just the presentation, but the repertoire...the writing is extraordinary. Whatever influence from Dylan, Richard Farina and others McDonald might have absorbed, his muse was his own, and fully on display with idiosyncratic material that dripped with imagery and allusion.”

Buy the vinyl box set from Amazon.com: Country Joe & the Fish’s The Wave of Electrical Sound