Cyrinda Foxe

ANGELA BOWIE: THE PKM INTERVIEW 3

Gillian McCainDecember 30, 2015

This is Part Three of the original interview that Legs did with Angela Bowie for Please Kill Me. B SIDE A - Sorry where were we... L - That it was restri...

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REMEMBERING… THE NEW YORK DOLLS WITH L-U-V!

PKM EditorSeptember 9, 2015

by Madeline Bocaro “It’s ten o’clock...Do you know where your children are?” Yeah - they’re just sneaking out of the house to hear some rock n’...

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MORE ROCK & ROLL MUSES!

Amy HabenJuly 30, 2015

We can't get enough of the goddesses of the rock & roll underworld! As the "good" girls were taking debutante classes or tutoring kids, these temptresse...

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Carol Kaye started as a jazz solo guitarist, working the club scene of 1950s LA, when she was asked to work on some studio tracks for Sam Cooke. Though she loved the bebop jazz scene, Carol was a single mother with three kids and so to the studios she went, eventually switching to bass. She ultimately changed the very sound and role of that instrument in pop music as a member of what drummer Hal Blaine dubbed The Wrecking Crew (but which Carol has called The Clique). By any name, these were the session musicians who shaped some of the biggest hits of the 1960s, after which she went back to playing live gigs and working in movies and television, writing and teaching, which she is still doing in her 80s. Michael Shelley talks with the amazing Carol Kaye for PKM. Read more!

Debby Miller on MOOGS, THEREMINS, AND LSD: LOTHAR & THE HAND PEOPLE’S SUBVERSIVE PSYCHEDELIANice to hear about Paul Conly, a talented musician and true artist for life
Andy Dean on JOHN PEEL: HIS LIFE AND MUSICAL LEGACYGreat article but surprised to see no mention of The White Stripes and his part in their exposure to a wider audience. Surely a major ommission. I'd also take issue with Richard Morton Jack saying Peel “was so focused on helping new artists get a foothold that he simply couldn’t
Andy Dean on JOHN PEEL: HIS LIFE AND MUSICAL LEGACYI think that's a pretty mean spirited post. Peely didn't only appeal to "white boys in the suburbs etc" when I listened to him a lot in the late 70's and early 80's he played loads of reggae, Black Uruhu, Mighty Diamonds etc and to say he was ignorant of

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KEITH RELF: WHEN A YARDBIRD FLEW SOLO

VISUALIZING ROKY & THE 13TH FLOOR ELEVATORS

THE CULT OF COSMOPOP: TRUE BELIEVERS IN THE ARIZONA OUTBACK

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TAQUILA MOCKINGBIRD: KEEPING PUNK HISTORY ALIVE IN L.A.

CAROL KAYE: THE BOSS OF THE BASS GUITAR

MARSHALL CRENSHAW IS HAVING ANOTHER FIELD DAY