Having established itself as the “Best New Festival” at the 2009 UK Festival Awards, SONISPHERE FESTIVAL KNEBWORTH moves from strength to strength with the announcement of the phenomenal 2010 headliners, as well as the first of many great bands for the three day event over July 30, 31 and Aug 1.

With the power to rock the very foundations of Knebworth Hall itself, the weekend headliners, both renowned for sensational live shows, are British Metal titans
IRON MAIDEN – for whom KNEBWORTH will be their only UK appearance of 2010 – and German industrial rock monsters RAMMSTEIN, who make their first – and only 2010 – UK Festival appearance.

In addition to the two headliners, there are already a host of major acts confirmed – and it’s not even Christmas yet!

There is much more to come with dozens more bands to be announced in the new year – metal, rock, hardcore, thrash, classic, indie, punk, you name it, we will have it. From well-established rock icons to the hottest new names, if they rock and are worth seeing, they will be playing at Knebworth.

So it is with great anticipation that we can already announce the following line up -

From the west coast of America, the heaviest of the heavy, SLAYER will take to the Knebworth stage to deliver furious metal delivered at breakneck speed.

Complementing this performance, from New York, speed metal kings ANTHRAX return to Knebworth with John Bush back in the fold.

Flying in from LA for their only UK show of 2010, Glam-metallers MÖTLEY CRÜE will be bringing with them their sleaze-drenched Rock.

THE CULT, also making an exclusive UK festival appearance, have marked England’s place on the global rock map, being one of the few UK hard-rock bands to truly break in the US.

With so many legends on the bill already, one would think it impossible to confirm more so early on. But we can announce that IGGY & THE STOOGES are also set to play an exclusive UK festival show.

SONISPHERE FESTIVAL KNEBWORTH is set to be an even bigger monster in 2010, with the extra day of music added.

Friday 30th July will see the festivities getting started with a Rocky Horror show theme, and ALICE COOPER – the legendary godfather of theatrical rock – suitably closing the evening on the SATURN stage at his only UK festival performance of 2010.

Tickets available from www.sonispherefestivals.com

Sonisphere 2010 will be headlined by Iron Maiden and Rammstein. Also included in the line up announcement were Slayer, Motley Crue, The Cult, Iggy and the Stooges, Anthrax and Alice Cooper.

What a band. Great sinister synth not used in the recording and a strange Mr Potato Head looking thing on the wall at the beginning…

Com lamentável atraso, aí vão meus comentários (incrivelmente curtos) sobre os shows do festival Planeta Terra, que rolou sábado passado no Playcenter, em São Paulo. Os shows não me tiraram do chão, mas admito que fechei os olhos no looping da montanha-russa.

Surpresa: Etienne de Crecy fez meu show favorito do Planeta Terra

Móveis Colonais de Acaju | 7 | Como sempre, incansáveis (e o André está cantando cada vez melhor). A abertura do show foi, como diria Herbert Vianna, acima das palavras. Um pouco menos criativos no palco, no entanto.    

Maxïmo Park | 4 | Não tão vergonhoso quanto The Rakes, mas quase lá. No palco, o pior acontece: tudo o que a banda fez de decente está concentrado no disco de estreia. Infelizmente, eles parecem curtir muito os outros dois discos. Serviria como show de abertura do Franz Ferdinand (ok, talvez nem isso).

EX! | 4.5 | Vi um pedacinho de nada, mas me pareceu uma paródia de todas as bandas moderninhas de Nova York (com uma vocalista que me deixou com saudades do La Roux). Era?

Primal Scream | 5 | As lembranças do show ruidoso, violentíssimo que eles fizeram no Tim Festival há alguns anos pesaram contra este (morno) retorno. E, para piorar, soou desconjuntado: começou como uma colagem das referências punk da banda, terminou com hits fáceis e sensação de psicodelia requentada. Pouco.

Sonic Youth | 7 | O primeiro show do Sonic Youth a gente nunca esquece (e o Metronomy que espere). Tudo bem: não há como descrever a força estranha que move Kim Gordon no palco (num determinado momento, acho até que ela virou Monga, a indie selvagem). Também tenho que admitir que é intelectualmente muito excitante assistir a uma banda que vive no presente e não dá bola para os próprios hits. Mas é um show que deve ter deslumbrado especialmente os fãs do disco mais recente deles. Sei que seria pedir muito, mas eu preferiria ter curtido o repertório de Murray Street ou de Washing machine.

The Ting Tings e Iggy and the Stooges | Vi um pouco dos dois shows (a organização do festival, sádica, marcou as duas atrações para o mesmo horário), nem dá para avaliar direito. Ting Tings rendeu mais do que eu esperava: eles conseguem segurar o público por quase 60 minutos com apenas três hits e clima de programa de auditório (eu daria um 7, vai). Do Iggy vi só três músicas e me arrependi de não ter ficado mais tempo no palco principal.

N.A.S.A. | 4 | Picaretagem muito da vagabunda.  

Etienne de Crecy | 8 | Surpresa: quem procurava espetáculo visual encontrou um parque de diversão inteiro no show hipnótico do DJ francês. Dançando no cubo mágico. Fantástico.

Iggy and the stooges kommer att återförenas för en turné 2010! Inga platser eller datum är bestämda, men vi får hoppas att de tar en tur förbi Sverige.  De får fint besök av gitarristen James Williamson, som är med för första gången på 30 år sedan skivan Raw power. Turnen kommer därför att bestå av främst låtar från den skivan, så se fram emot klassiker som search and destory och gimme danger..

Jävligt skön video(var med på Strages 100 rock ögonblick), dock inte från Raw power.. men en häpen tv-kommentator som får se Iggy hoppa ut i publiken och smeta in sig i jordnötssmör.. I like!

//Dangerkid

Punk Rock Godfather Iggy Pop: Singer, Living Legend, Noteworthy Streetwalkin' Cheetah.

  In a ceremony held last night in London, Iggy Pop was named ‘Living Legend’ by the Marshall Classic Rock Roll of Honour, as voted by the readers of Classic Rock Magazine.  Upon accepting the award, he opened his speech with “It’s been a long dinner, so I’m not going to whip out my dick.” In a room filled with classic rock luminaries as Pete Townshend, Ronnie Wood, Brian May and Billy Gibbons, he established his gratitude to the general music appreciating public the only way the 62-year old garage rock innovator could: “. . . thank you to everybody who has strong feelings about music so that when you hear something you don’t like you wanna fucking kill somebody and when you hear something you like you wanna fuck everybody.”

A classic record sleeve dripping with attitude, androgyny and that glorious orange on black contrast. Photo by Mick Rock.

it all began around 5,000 years ago with a strange old man in either modern day iraq or turkey depending on what time of day you ask a scholar.  he was married to an old barren bird and so he got it on with his egyptian handmaid and had a son.  later on, his wife said “surprise, i got a bun in the oven, too” and all hell broke lose.  you’ll be happy to know no further problems arose from these two sons both claiming lineage from the same patriarch (oh wait, nevermind).  the 2nd son would have a couple of his own, one being renamed yisrael after rasslin’ with an angel, and then having 12 sons, who would also have no problems with each other and do nothing innappropriate (oh wait, nevermind).  there names were reuben (from which we get the delicious kosher sandwich), simeon, levi, judah (a descendent of this tribe would come along a few millenia later and cause a fuss – something about beatitudes and forgiveness and crucifixion – also, the lion of judah was emblonized on the ethiopian flag for a while, so that’s cool), dan, naphtali, gad, asher (my friend ian’s middle name), issachar, zebulun, joseph (who had an amazing technicolor dreamcoat) and benjamin.  sadly, only two of the tribes that came from these boys would survive, those of judah & benjamin.  thus giving rise to lots of conspiracy theories about what happened to the lost tribes and who they “really” are today.  here’s an idea – they were LOST.  and not like kate, jack, sawyer & hurley.  but, i’m getting off track.  the patriachs of the hebrew people have now been given to you.  flash forward to levi’s great grandson and you’ve got moses.  once upon a time moses found himself on top of a mountain and God said “hey, moses, go tell your friends i say hi”, so moses did.  the people asked moses, “well, what does he want with us?”, so moses goes back up the mountain and says “they asked what you want”, and God says “i want to be their God and for them to be my people, you know, i’ll be their heavenly baby daddy”.  so moses goes back down the mountain and tells the people, and they say “well that sounds all touchy-feely.  can’t he just give us some rules to follow or something?”, so moses goes back up the mountain, meanwhile thinking “you know, sandals are not the best for all this hiking, and this is the friggin’ desert, i’m schvitzing over here!“, and tells God.  well, God was pissed, and said “rules?  they want rules?!?!  i’ll give ‘em rules!  613 of ‘em!!!”, and you can find these – most of which are by even ancient standards way crazy – in the 2nd half of exodus – deutoronomy (the majority of the torah, aka the first 5 books of the bible).  leviticus is perhaps the wackiest, and also gives us the details on the day of atonement, what we now know as yom kippur.  and long story short, that is today until sunset.  in celebration, this music monday will feature videos by some descendants of the tribes of judah & benjamin, the modern day jewish people (again, i implore you to ignore anyone saying the “true hebrews” are northern europeans or africans (well, excluding converts or the ethiopian falasha – descendents of king solomon) or anything other then the goldsteins and horovitzs and cohens that you know).  begin!

now, everyone knows about dylan.  and, a lesser known fact is elvis’ mother was jewish.  but, what might surprise you most is how influencial the israelites have been on punk rock.  and the godfather of punk himself, iggy pop, is a hebrew.  here he is with the stooges doing “i wanna be your dog”.

fellow detroit proto punks the mc5 were primarily a jewish group, as well.  and they kicked out the jams, indeed.  in nyc, nearly all the early cbgb proto-punks were down with the dreidel.  from the fugs to the new york dolls to the modern lovers to television to blondie to the patti smith band to the misfits all had jewish members.  and of course there was the leader of the pack, lou reed, and his velvet underground.  here’s “i’m waiting for the man”.

a few years later, the ramones would come out and change the whole “what it means to be punk” ideal, and the sound got faster, sloppier, louder and, imo, much more fun.  joey ramone, you’ll always be my favorite punk rocker.  here’s “cretin hop”.

punk went ‘cross the pond for a bit, seemed to die out, but then a re-birth in the form of hardcore punk took place in southern california.  it took me a long time to give credit to the early LA area scene as being where hardcore punk began, b/c i was all about d.c., boston & nyc.  but, though the bad brains perfected hardcore punk, a lot of bands were coming out of cali with only one adjective that could describe their version of punk:  hardcore.  from jello biafra’s dead kennedys to the circle jerks to x to bad religion to the adolescents to agent orange to the youth brigade to this crazy bunch of punks, the angry samoans.  here’s “lights out!”.

of course, the best of the bunch was social distortion.  the early stuff was great, but the band was one of few who just kept on making better and better music.  and mike ness & the boys are still doing it.  here’s “makin’ believe”.

heading back to nyc, reagan youth & the dictators were bringing the hardcore, as well as three kids who decided to leave the instruments for 2 turntables and some microphones.  that’s right, the beastie boys.  they started out punk, went hip hop, and the world has never been the same!  given the occasion i find it only fitting for the song to be “shadrach”, and here’s a cool animated live version.

out in the midwest in the mid-80’s, some amazing post-punk music was being made.  husker du and the replacements were the best of the best.  bob mould & paul westerberg are geniuses, and, as my luck would have it on this music monday, both are jewish.  but, which to choose?  i gotta go with the replacements, one of my all-time favorites.  here’s “color me impressed”.

there are 4 bands credited with being the “big 4″ of thrash, a mix of punk & metal that emerged in the 80’s.  and guess what?  3 of 4 were made up of primarily jewish members – slayer, anthrax & megadeth.  no surprise metallica was the one with all goyim.  let’s go with slayer, i mean seriously, is there another?  interesting side note:  anton lavey was jewish, as is glenn barton, frontman of the terribly awful deicide.  i’m not sure how i feel about that.  anyways, here’s the one & only “raining bloooooooooooooooood!!!”.

one of the best punk bands out today is canada’s propagandhi.  love those commie bastards.  check ‘em out if you’re unfamiliar.  off their latest, here’s “supporting caste”.

and to end it, i’m not a huge nofx fan.  fat mike just bugs me.  but, what kind of jewish punk rock music monday would it be without the anthem, “the ‘brews”?  here it is!

of course, i suppose that the fact barry manilow & michael bolton are both jewish kind of even things out.  oh well.

l’chaim.

It’s September and we’re about two-thirds through the year 2009. Here are just a handful of celebrities who have died since the year began.

Iggy and the Stooges are reuniting with Raw Power-era guitarist James Williamson, with their dates at All Tomorrow’s Parties on 2 and 3 May being his first gigs since leaving the band in 1974. He replaces former guitarist Ron Asheton who died in January aged 60.

Source: NME

Rock out Knockout

I first discovered this Chicago band during a late night trolling session on CDBaby (a highly recommended exercise to discover many bands flying under everybody’s radar). I was intrigued by the name-dropping of the Dolls, Stones and Stooges, and plunked my money down. Well, the comparisons were accurate – More Songs, Less Music was reminiscent of  Cheap Trick and Mott The Hoople strained through a  Ramones filter (albeit with traces of Beach Boys and bubblegum glam). Twelve years later, I’m still playing their discs.

Now listed on MySpace as being from Hollywood, a December 2008 post teased a new recording in progress. But their last blog entry says “permanent vacation”, which wither means (1) they want you to know they’re not coming back to Chicago, (2) they really like that Aerosmith album, or (3) they’re toast.

The Teenage Frames have released six CDs to date. Give them a try – most of their releases are EPs you can pick up for five bucks! Unlike so many bands who think they have to fill out every nanosecond of the CD with sound, these guys know enough to get it, hit hard and get out. Here’s a review of 1% Faster, their second release, that will give you a good snapshot of their sound.

If you like the Stooges and the New York Dolls as much as I do, then you’re going to have a big smile on your face when you hear these guys. Now don’t get me wrong – glass won’t shatter and I don’t see a high heel shoe anywhere – but vocalist Frankie Delmane was spawned from the same muck. And hell, with song titles like “Drug Power,” “Teenage Letdown” and “Back To The Motor City,” what do you expect? The Teenage Frames kick ass, pal! “I’m Going Home” has more swagger than Jagger, and if that ain’t Keef ripping those rhythm chords it’s Dan Baird fronting the Quireboys.

When they slow it down, it’s Johnny Thunders sipping margaritas (“Living It Up”), but when it cranks I hear echoes of The Ramones (“I Want To Go Out Tonight”), The Boys (“Just Can’t Seem To Take It”), The Black Crowes and The Sex Pistols. Once in a while, Delmane’s rasp slides off the chart, but so what? With three seventies-named cats like Eric Vegas (who co- writes everything with Delmane), Jim Holiday and Ted (Don’t Call Me Johnny) Cougar as the power trio, I don’t care. The last record is called 1% Faster. I think they underestimate themselves.

Teenage Frames website

Teenage Frames CDs on CDBaby

TF live, too wild for The Jenny Jones Show

Living Legends Still Kicking Ass After 40 Years

The rock music industry is a young person’s game, and when you get older you get relegated to revival tours because the audience you’ll draw wants to relive their youth through you. If you’re not a giant (Dylan, Neil, Springsteen) who can continue to command attention and create new music, you’re either getting by on reputation (Stones) or you’re off the radar. If you’re lucky, you’ve developed a strong core audience that can help sustain your career. But most of the time, fate isn’t that kind. Not all the greats get the accolades they deserve, and although they may continue to create magic, they do so in relative obscurity while far lesser talents get propped up as the cash cows of the moment.

That’s why I’m here today to remind you about Jim McCarty and John Badanjek, two bonafide living legends of rock’n'roll who have been knocking me out for forty years. And I am absolutely geeked that they are playing together once again, lighting Detroit on fire as The Hell Drivers, and hopefully cutting an album. Yes, I know that every generation swears by the music they grew up with, usually at the expense of most of what came before and after. I’m no exception to my own Wonder Years, although I probably have a wider bandwidth of tolerance than most people I know, and I still voraciously seek out new music every day. I’ve learned to go backwards and appreciate the geniuses who predated my birth, and many of the bands kicking my ass today are young pups with their best days ahead of them.

But I did grow up in a dynamic time, when Britpop and Motown and psychedlia and garage and folk and rock’n'roll all burst out of the speakers and raced up the charts together. The greatest musicians and pop songwriting geniuses of the later twentieth century all seemed to be peaking at once and the result was a few years of the most amazing creativity in music history. If you wanted to stand out during the late 60s, you really had to bring it. And for me, the best rock and roll song from that era is “Devil With A Blue Dress” by Mitch Ryder and The Detroit Wheels. That song doesn’t just rock, it explodes -  the drums and guitar solo bursting from the speakers to stand toe-to-toe with Ryder’s supercharged vocal. Forty years later the track still sends chills up my spine and makes me drop whatever I’m doing to split time between air guitar and drumming madly on whatever is within arm’s reach.

The Detroit Wheels were composed of the best Detroit musicians at the time, including drummer Johnny “Bee” Badanjek and a guitar whiz named Jim McCarty. Even more amazing, both were teenagers when the band topped the charts! It would be the first of several professional collaborations over the years, and their friendship remains intact to this day.

They socked it to me, baby.

Jim McCarty is one of the most underrated guitar players in rock’n'roll history and has the lineage to back that up. At the beginning of his career he was good enough to hang out at Electric Ladyland in NYC trading licks with Jimi Hendrix. He smoked the strings with Buddy Miles, ripped it up with Bob Seger on his Seven album, but really busted out with Cactus. McCarty made the guitar wail, weep and blister for three albums, but when Rusty Day was booted Jim left also, surfacing a few years later in The Rockets along with Johnny Bee. After their nice run, very little was heard from Jim; he started playing in blues bands like Mystery Train in clubs around Detroit. Then, amazingly, Cactus reformed for some gigs and a new album in 2005, and he proved that thirty-plus years later, that brilliant signature tone hadn’t lost a thing.

Stone Cold Classic

Johnny Bee moved along with Ryder to form Detroit – talk about your legendary killer rock albums – then later saddled up with The Rockets, where his songwriting skills also got a chance to shine; the band had several hits across five albums. But Bee’s calendar has always been jampacked; the legendary drummer has also played with Alice Cooper, Edgar Winter, Nils Lofgren, Ronnie Montrose and many others. He reuinted with Mitch on a few of the latter’s more recent solo albums and lately has been working most often with The Howling Diablos. He still plays drums like his pants are on fire and propels any band he plays with to greater heights.

Now it looks like Jimmy Mac and Johnny Bee are joining forces once again in The Hell Drivers, covering their own past hits from Mitch Ryder, The Rockets and Cactus along with other Detroit legends like Scott Morgan, The Rationals, Iggy and the Stooges, The Romantics. With Marvin Conrad on bass and Jim Edwards on vocals, it’s true Detroit rock royalty.

The Hell Drivers with the Detroit arrangement of Lou’s “Rock’N'Roll“.

The Hell Drivers breathing new life into “Desire” by The Rockets.

The Hell Drivers tackle The Torpedoes “No Pills” – take that, Sex Pistols!

And Mitch Ryder? He’s been making great records in Germany for the last thirty years. He can still rock it and he can still sing sweet soul music. I cannot wait to hear The Promise - the record he’s making with Don Was - but ‘ll be writing a full piece on the man and his career another day.

Live cut of Mitch performing “Devil With A Blue Dress” from a while back featuring that classic Johnny Bee drum break.

Snap Ant, bass player from Super Numeri (PARIS DJ)

01. Flaviola e o Bando do Sol / Canto Fúnebre (from ‘Flaviola e o Bando do Sol’, 1974 Solar)
02. Ralph Lundsten / Prayer 7 – Deliver Us from Evil (from ‘Fadervår’, 1972)
03. Basil Kirchin / Special Relativity (from ‘Quantum’, 2003 Trunk)
04. Iggy and the Stooges / Tight Pants (from ‘I’m Sick Of You!’, 1996 Bomp)
05. Daniel (A.I.U) Higgs Interdimensional Song-Seamstress / Moharsing and Schoenhut (from ‘Ancestral Songs’, 2006 Holy Mountain)
06. Electric Wizard / Vinum Sabathi (from ‘Dopethrone’, 2000 Rise Above)
07. Vernon Elliot / Clangers Original Television Music (2001, Trunk)
08. Ray Cathode / Waltz In Orbit (from 7″, 1962 EMI)
09. Chants Populaires Tahitiens / Chant D’Amour (from ‘Robert Crumb: Presents Hot Women Singers’, 2003 EFAS)
10. Link Wray / Ace Of Spades (from 7″, 1965 Swan)
11. Stars of the Lid / Jan. ‘69 (from ‘Gravitational Pull Vs. The Desire for an Aquatic Life’, 1996 Sedimental)
12. Faust / Meadow Meal (from ‘Faust’, 1971 Polydor)
13. My Bloody Valentine / Glider (from ‘Glider’, 1990 Creation)
14. Neil Young / The Loner (from ‘Neil Young’, 1968 Reprise)
15. Alice Coltrane / The Sun (from ‘A Monastic Trio’, 1968 Impulse!)
16. Milton Nascimento / Cozinha (from ‘Maria Maria/Ultimo Trem’, 2000 Far Out)
17. Agha-Ye Sadjadifard / Bedah-e navazi santur (Impromptu on the santur) (from ‘The Music of Islam, Vol. 12: Music of Iran’, 1998 Celestial Harmonies)
18. Joy Division / Warsaw (from ‘Warsaw’, 1994 Movieplay Gold)
19. The Erik Brickland Survival Scheme / Case 4 (from ‘The Early Cases Vol. 3′, cdr 2001)
20. Armando Sciascia / Psicosi Depressiva (from ‘Metempsyco’, Dagored 2001)
21. Ralph Lundsten / Prayer 6 – Lead Us Not Into Temptation (from ‘Faderbår’, 1972)
22. Unknown / Who’s Afraid (from ‘How Do I Learn’, Unknown)
23. Walter Schumann / Pretty Fly (from ‘The Night of The Hunter’ Motion Picture, 1955 United Artists)
24. Canned Heat / On The Road Again (from 7″, 1968 Liberty)
25. Caetano Veloso / Acrilírico (from ‘Caetano Veloso’, 1969 Philips)
26. Wilco / Wishful Thinking (from ‘A Ghost Is Born’, 2004 Nonesuch)
27. Cabaret Voltaire / Seconds Too Late (from ‘The Original Sound of Sheffield ‘78/’82′, 2002 Mute)
28. Cliff Martinez / Is This What Everybody Wants (from ‘Solaris’ Motion Picture, 2002 Superb)
29. Chib / + (from ‘Moco’, 2004 Fatcat)
30. Brian Hodgson / Tardis Computer (from ‘Doctor Who at the BBC Radiophonic Workshop – Volume 1: the Early Years 1963-1969′, 2005 Mute)
31. Luigi Zito / Movimento (from ‘Miscellenea’ 1969 SR)
32. Dr. Timothy Leary / The Tune In (from ‘Turn On, Tune In, Drop Out’, 1967 ESP-Disk)
33. Captain Beefheart / Clear Spot (from ‘Clear Spot’, 1972 Reprise)
34. Pierre Henry / Trafic (from ‘La Ville. Die Stadt’, 1994 Wergo)
35. Excerpt from ‘Cafe Flesh’ Motion Picture (1982)
36. Grey / Drum Mode (from ‘Downtown 81′, 2001 Virgin)
37. Broadcast / Microtronics 06 (from ‘Microtronics Volume 1′, 2003 Warp)
38. Grizzly Bear / Easier (from ‘Yellow House’, 2006 Warp)
39. Zukanican / Tell it to the Kif (from ‘The Stumbling Block’, 2009 Pickled Egg)
40. David Lynch / Today: David Lynch & Donovan 23 Oct 07 (from BBC Radio 4, 2007)
41. John Parish / El Merreon (from ‘How Animals Move’, 2002 Thrill Jockey)
42. Tortoise / Seneca (from ‘Standards’, 2001 Warp)
43. Pop Levi / Police $ign (from 7″, 2009 Counter)
44. Black Dice / Creatures (from ‘Creature Comforts’, 2004 DFA)
45. Sun Ra / Friendly Galaxy (from ‘Purple Night’, 1990 A&M)
46. Afrika Bambaataa / Just Get Up And Dance (Acapella) (from ‘The 12″ Mixes’, 1999 ZYX Music)
47. Yoko Ono / No, No, No (from ‘Walking On Thin Ice’, 1992 Rykodisc)
48. Excerpt of speech from Norma Panduro
49. Eno – Moebius – Roedelius – Plank / Nervos (from ‘Begegnungen’, 1984 Sky)
50. Bruce Haack & Esther Nelson / Ok Robot (from ‘Listen Compute Rock Home: The Best of Dimension 5′, 1999 El Diablo)
51. Instruments Suprenants Et Rares (from Unknown)
52. Azimuth / Caça A Raposa (from ‘Azimuth’, 2007 Far Out)
53. The Hooterville Trolley / No Silver Bird (from 7″, 2008 Stoned Circus)
54. Margo Guryan / Love (from ‘Take a Picture’, 1968 Oglio)
55. BBC Sound Effects Library / Happy Baby
56. Bearfarm / The Wounded Stag (from ‘The Important First Album’, 2009 cdr)
57. Brian Hodgson / Sting (the Krotons) (from ‘Doctor Who at the BBC Radiophonic Workshop – Volume 1: the Early Years 1963-1969′, 2005 Mute)

ah it’s not one of the original grail of two hundred.  it is however heavyheavy hundred eighty gram vinyl.  does look like the original, with the die-cut sleeve and blood red cellophane window.  ltd edition and numbered, just without the bastard ebay price tag.

if you know anything about this record you probably know the resemblance to the doors, morrison in particular.  not an unexact comparison to be fair. but there’s a distinct kindof garage punk thuggishness to the acid psyche. certainly less poppier and jazz inflected than the output of densmore, krieger, manzarek and morrison.  in fact it’s probably not inappropriate (ach it probably is entirely inappropriate but anyway) to draw some sketchy tenuous line from the west coast los angelesian psychedelia to the fucked and addled monstrosity of the detroit stooges and mc5 damaged rock.  bugger it, i’ll place moon blood somewhere between the two. somewhere in kansas (toto) if i consult my giant drinks cabinet cum world globe.

anyway…

it’s a beautifully muzzy hard rock, stumbling stoned yet angry from yr speakers.  jim beachs’ vocals whilst morrisonesque (not sure of the timelines of which jim came onto the scene first) at times are also a damn sight harsher, more howlin’ wolf than john lee hooker.  the guitars and drums for sure are a suitable bludgeoning companion to the existential angst.

• sanc divided

lyrically it’s where some lysergic bible of semi-religious ergotism, christian redemption and physical/psychological stoned destruction meet.  see the exorcismic plea of ‘come out of her’…

i defy you to be her breathless moments plea / to bathe beneath the arrow of her knee / come and join in the kill

they look bad-ass (motorhead meets easy rider chic).

they sound bad-ass (see above).

a fucking essential record (essentially).

the vinyl’s on phoenix records if you can get one.  the cd’s out there as well on radioactive records (some with bonus tracks).

Let’s say you’ve repressed some psychological childhood trauma for a couple of decades, and one day someone pisses in your oatmeal. One step too far, buddy. What do you do? You decide the only way to vent these yucky feelings is to go on a bloody rampage of death. Makes logical sense, no?

So, you sellotape the picture of mum to your crossbow and put on your headphones. Set playist to “kill”. This should be your recommended listening should such an excursion take place. Happy hunting!

DAF – DER MUSSOLINI (from the album “Alles Ist Gut”)

There goes Mum & Dad.

BAUHAUS – DOUBLE DARE (from the album “In The Flat Field”)

Oh no, Auntie Claire, sorry about the massive spike in your throat.

IGGY & THE STOOGES – NO FUN (from the album”The Stooges”)

Your presents were always SHIT Granny. SHIT!!!!!

ZOMBIE ZOMBIE – DRIVING THIS ROAD UNTIL DEATH SETS YOU FREE (from the album “Zombie Zombie”)

Don’t look at me, I swear to God. Oh that’s it, you looked at me. You’re dead MEAT!!!

CONRAD SCHNITZLER – AUF DEM SCHWARZEN KANAL (from the EP “Auf Dem Schwarzen Kanal”)

I’M NOT GOING TO MASS ANYMORE!!!! OR SCHOOL!!!

JOHN CARPENTER – HALLOWEEN THEME

Take THAT Mr. McCluskey.

GOBLIN – ZOMBI THEME

SUICIDE – GHOST RIDER (from the album “Suicide”)

Concluzie, ca incep cu concluzia: Grindcore-ul se trage din Oh, Susanna Daca nu iti dai seama de asta nici macar dupa ce te uiti la clipurile de mai jos, esti mare idiot

1848 Stephen Foster – Oh ! Susanna

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1899 Scott Joplin – Maple Leaf Rag

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1912 George Botsford – Grizzly Bear Rag

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1917 Original Dixieland Jass Band – Tiger Rag

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1926 Jelly Roll Morton and His Red Hot Peppers – Doctor Jazz Stomp

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1937 Benny Goodman

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1944 Harry “The Hipster” Gibson – 4F Ferdinand The Frantic Freak

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1956 Bill Haley – Rock Around The Clock

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1965 The Sonics – Psycho

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1970 Iggy and the Stooges

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1977 Ramones – Rockaway Beach

[http://www.youtube.com/watch?v=uD4xbgYja7s]

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1984 Siege – Starvation

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1994 Anal Cunt – Guy Smiley

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2008 Jig-Ai – Geishas Sucks European Cocks

Este año ha estado pesado con las bajas en cuanto a lo que a mí me gusta escuchar, se fue Ron Asheton de Iggy and the Stooges, Murió Andy Martinez de los Nekromantix, Bo Didley y recientemente uno de mis 6, ahora 5, más grandes y vivos. Lux Interior de los Cramps.

Pero en vez de hablar de lo triste y deprimente que se hizo mi día cuando me enteré…¡hablemos de fuzz musique!

El género probablemente ni siquiera exista, sólo lo utilizaremos para definir a aquellas bandas, que por el sonido que tienen, podrían encontrarse en un mismo cartél y mantener la coherencia sin importar la escena a la que pertenezcan porque:

a) Usan un pedal de fuzz

b) Fuzz musique suena muy chingón, y si tuviera una banda consistente en este momento, me gustaría que dijeran que toco fuzz musique.

Ok, hablar de todas las cosas, entornos sociales y casualidades que definieron tantos géneros como el garage, el frat rock, el surf, el punk  y el protopunk  etc etc, sería muy tedioso; Sólo es necesario señalar que los Kinks descubrieron un tipo de distorsión al razgar el cono de un amplificador con una navaja, Link Wray encontró otro al agujerar la malla de su amplificador con un lápiz, se pueden hacer guitarras eléctricas y acústicas con las piezas de un teléfono público,  los amplificadores de bulbos son caros, pero valiososos, vale la pena lo que sea que pagues por patear el cabezal de uno y que te dé ese sonido de feedback, como cuando pasas por debajo de una torre de alta tensión. Todo esto tiene en común un zumbido.

Hay muchas temáticas dentro de todos estos géneros, el protopunk dió bases al punk, y el punk bueno, es punk.

El frat rock y el garage son muy parecidos, la diferencia más notoria podría ser que el frat rock tiene un tipo de coro como de pandilla, que se llama anthemic en inglés.

Y el surf, tiene como característica que es instrumental la mayoría de las veces, y existe un plumilleo como médula espinal del género, cosa que suena… si, a un zumbido. Pero estas distinciones  no importan mucho en realidad, porque aquí estamos hablando de Fuzz musique.

Probablemente el tema más socorrido dentro de la fuzz musique sea el horror, hay muchos métodos para apoyarse y darle cierta atmósfera, los theremins y órganos farfisa ayudan mucho, pero definitivamente si a alguien se le debe algo, es a Lux Interior, quien de entrada reinventó el shock rock; cuando Alice Cooper ya no asustaba, Lux se puso tacones y tanga de cuero; Y canciones como Creature from the black leather lagoon, Human fly, y Aloha from hell, tal vez sean los más covereados dentro de toda la fuzz musique.

Otra institución dentro del fuzz serían… los Fuzztones. Un tip: TOOOOODO lo que hacen los Horrors hoy en día, los Fuzztones lo hicieron dentro del revival del garage… hace 30 años. Todo menos tocar en un hospital psiquiatrico, jeje.

Entonces, ya expliqué cómo sonar a fuzz musique, qué temas abordar, qué géneros integran esta inexistente, y nada seria escena.

¡Pues vámos a los ejemplos!

The Ghastly Ones – Ghastly Stomp

The Cramps – Ultra Twist

The Fuzztones – Ward 81

Link Wray & His Ray Men – Rumble

Lechuga!