BY PATRICK SAWER VIA TELEGRAPH
It took a while for punk to go from squats and bedsits to recording studios – so much so that with no punk records available Don Letts, the resident DJ at Covent Garden’s Roxy Club, would famously play his favourite reggae tracks instead – turning spikey haired white kids onto the Jamaican sounds that had already inspired the likes of The Clash. But when the new bands started recording the results were explosive. While some classic punk tracks were only released as singles – The Clash’s 1977, Buzzcocks’ Orgasm Addict and Siouxsie and the Banshees’ Hong Kong Garden – these albums still reinvented the musical landscape.
VIA NY MAGAZINE
Looking back a few decades, 1973 might have been one of the most exciting years to live in New York City. It was the dawn of disco, punk, and hip-hop, as well as an underground party scene that challenged social norms like never before. There was an anything goes energy that seemed to have taken hold against the backlash of the Watergate scandal being fully exposed. Musicians like the New York Dolls, Lou Reed, and the Ramones were just starting to kick around, playing residencies at newly opened dives like CBGB and small backrooms. Hip-hop was growing out of uptown street parties, and underground parties like David Mancuso’s Loft were changing nightlife. A night out could literally end up anywhere, but these were the places you most wanted to be.
Chuck Berry reviewed classic punk rock singles in a 1980 issue of Jet Lag zine that resurfaced online on Music Ruined my Life and was reblogged by Dangerous Minds and then by Riverfront Times. The rock’n’roll godfather had some words of choice for The Ramones, The Sex Pistols, The Clash and more.
About The Sex Pistols’ “God Save the Queen”:
What’s this guy so angry about anyway? Guitar work and progression is like mine. Good backbeat. Can’t understand most of the vocals. If you’re going to be mad at least let the people know what you’re mad about.
BY PAUL MCHUGH VIA SFGATE
A photographic shoot of beatniks and hipsters could have been a mere footnote to the history of hip. But this morning session shot by two amateur shutterbugs near San Francisco’s City Lights bookstore nailed a moment in America’s cultural revolution of the 1960s: a meeting of minds between Beat poets and a new era’s lead troubadour, Bob Dylan.
BY HARRIET BLACKMORE VIA THE CULTURE TRIP
The beginning and end of 1980s Berlin were completely and radically different, and this selection of films captures aspects of the tumultuous decade and the essence of the city itself. Films about the music and art scenes emerged from this divided city and the underlying political strife that was the backdrop to it all. From the infamous and heartbreaking cult film Christiane F. to the first and last DDR film documenting the queer scene in Berlin, Coming Out, we offer a glimpse into this torn and turbulent decade as captured on film.
Fright Wig? Check! Sunglasses with one lens missing? Check!! Fake moustache and Van Dyke beard? Check!!! A pocket full of
M-80 firecrackers? Check!!!! Big rubber frog as sidekick/nemesis? Check!!!!!
If you grew up in the greater Detroit or Cleveland area, you know I could only be talking about one man – The Ghoul.
By Todd McGovern
Played by Ron Sweed, a protégé of classic 1960s Cleveland-based horror host Ghoulardi, The Ghoul presented (and disrupted) schlock-shock horror movies on Detroit television from the early 1970s through 2004.
Continue reading “THE GHOUL” – KING OF DETROIT LATE NIGHT FRIGHT
I can listen to The Rolling Stones song “2000 Light Years From Home” over and over. The eerie random piano keys start the song as if it was the soundtrack of a 60’s horror flick. And of that tension rolls into a buttery smooth threesome between Mick’s vocals, Brian’s Mellotron and Keith’s groovy guitar riff. Brian Jones adds on the trippy effects which help procure a darkly surreal tune. Whether you have traveled to space or are just on a long, strange drug trip, the emotions are the same: wanting to come down, loneliness, isolation, and nostalgia. Jagger wrote the lyrics in jail after being arrested in an infamous drug bust at Keith Richards’ estate. The song is often cited as the grand exception to the pedestrian effort of Their Satanic Majesty’s Request. The Stones themselves have since tried to distance themselves from the album saying that they were abusing drugs and trying to spite their manager at the time, Andrew Loog Oldham. Critics nettled the Stones by calling the album an amateurish attempt of a Sgt. Pepper’s knockoff. The psychedelic nature of the tunes combined with elaborate costuming was most likely a nod to The Beatles Sgt. Pepper’s Lonely Hearts Club Band, yet other critics feel that is sounds much more like The Magical Mystery Tour, which would make The Beatles the copycats. Does all that really matter though? All you need is love right?
One of the finest counter culture Los Angeles, California rock groups, Steppenwolf have guaranteed their iconic status thanks to coining the term ‘heavy metal thunder’ in their trademark song ‘Born to Be Wild.’ This epic biker anthem is closely matched by Steppenwolf’s version of Hoyt Axton’s ‘The Pusher’. Both songs were featured in the legendary hippy road movie Easy Rider (1969) (starring Jack Nicholson, Peter Fonda and Dennis Hopper) and were also featured on the soundtrack, this guaranteeing a kind of instant fame even before most people had caught up with their debut album.
Some folks find their religion in church, me I found mine in the 99 cent record bin of a trashy southern Woolworth’s. On that fateful day in 1971, from that bin of unwanted vinyl, came the road map to my life– The Stooges and Funhouse, me all of twelve years of age. Other life changing discs too– Howlin’ Wolf’s Evil, the Flamin’ Groovies’ Flamingo and Teenage Head, I’m Jimmy Reed, The MC5’s Back In The USA, Little Walter’s Best Of and Hate To See You Go. Raw Power would eventually find its way there, although by then I’d already worn out two copies.
According to California Rock News, Los Angeles-based artist Travis Moore has been selected to create a realistic depiction of Ian “Lemmy” Kilmister for a statue that will be built in front of the late MOTÖRHEAD frontman’s favorite haunt, the legendary Rainbow Bar & Grill on Sunset Boulevard in West Hollywood, California. The life-size cast bronze statue will stand at just over six feet tall and will be permanently housed in a special shrine that is currently being constructed in the patio bar area at the Rainbow.