From: owner-bomp-digest@ (bomp-digest) To: bomp-digest@Bolis.com Subject: bomp-digest V1 #19 Reply-To: bomp Sender: owner-bomp-digest@ Errors-To: owner-bomp-digest@ Precedence: bulk bomp-digest Sunday, January 26 1997 Volume 01 : Number 019 ---------------------------------------------------------------------- Date: Sun, 26 Jan 97 08:31:55 -0800 From: Chris Barrus Subject: RE: Cars >Can't imagine that such a simple and obvious name as The Convertibles >wouldn't >have been used by now, though. Maybe a check of some systems like MUSE will >turn something up, also check the rosters for BMI and ASCAP to see if anyone >files under that name. If the above draws a blank, you're probably safe in >trying to lock up the name. There's a band here in L.A. named Convertible - not quite the same, but they also had an amazing amount of trouble coming up with a name that isn't already used. - -c. - -------------------------------------------------------------------- Chris Barrus - No-Fi, IndieWeb, etc | "Who wouldn't want the Eyes of http://www.pacificnet.net/~xibalba/ | Frozen Shrimp on their side?" ------------------------------ Date: Sun, 26 Jan 1997 08:46:21 -0800 From: dothepop@ix.netcom.com (Lisa Lindstrom) Subject: Re: bomp-digest V1 #18 Lisa Lindstrom wrote: > Actually, I think the Heats albums are pretty weak. Hi, Ooh! "Have An Idea" is one of the Lp's I can't pick up anywhere... If you had an extra copy and would like to trade (or sell) it ... please contact me.... and let me know some stuff you're looking for.... Pierre PS: I live in France... Sorry, don't actually have the album (only the first two singles), just heard it. By teh way, The Heats moved down to L.A. and changed their name to...The Heaters! RE: Iron Butterfly. Saw 'em a long time ago back east, at some lame country-blues-rock bar in Kingston around 1988. They were really, really awful. They played some contemporary Top 40 covers, some oldies, and some of thier own tunes including what seemed like an endless version of "In A Gadda Da Vida." I don't know who was in the group, but I think it was the lineup that recorded their last LPs in the late '60s/early '70s. I kept shouting for "Flowers & Beads" but they never played it. I'm sure they thought "who is that lunatic?" The opening "act" was a Tribute to Hendrix guy who dressed like Hendrix and tried to play guitar like him but sounded more like Steve Vai or something. Really putrid. He "jammed" with the 'Fly for their encore... Alan W. ------------------------------ Date: Sun, 26 Jan 1997 15:19:03 -0800 From: Jeff Penczak Subject: Re: John Cale/musical "heroes" tgassen@azstarnet.com wrote: > > > William von Hagen/ Lounge Laura wrote: >>John Cale really did suck ... > > > > > > Bill > > > > That's a bad story! I really am sorry to hear that....because I am a BIG > > John Cale fan! Still, I LOVE THE MAN, even if he is a cjerk! Hey, who says these guys have to be *nice* anyway! Look at Dylan! :) > > Lounge Laura > > My advise to anyone who really has an emotional attachment to any of > their musical heroes: don't meet them if at all possible, you never know > what kind of personality you're going to get! My interview experience > with John Cale last year was a pleasant one, but it was clear that he > could be difficult very quickly if something rubbed him the wrong way. > Over the years I've been both lucky and unlucky when meeting some of my > "heroes" -- and yes, I do think that they should usually be "nice," just > like the rest of us, whether in a professional capacity (interviews, > gigs, etc) or at a chance personal meeting (parties, etc.) > Maybe I'll give some of my funny examples some other time, but > how about some anecdotes from other Bompers: what "brushes with > greatness" can you share? Good experiences? Jerks? "Heroes" to talk to or > steer clear of? > > Best, > > Timothy Gassen > http://www.azstarnet.com/~tgassenTim et.al., The two best experiences I've had meeting my heroes were Joan Jett and Graham Parker. Admittedly, I worked for Joan as Prez of the Fan Club and also sold merch at her shows, but I also had the opportunity to see her interact with her fans after the shows. (Hell, I even had to guard the backstage/dressing room door until she was ready to come out and/or let the fans in.) She was always very courteous with anyone who was interested enough to hang out and wait to talk to her. My experience with Joan also illustrates a trend that some folks may not be aware of which is simply this: the artist you want to talk with may be prevented from doing so by their manager/tour manager. Joan would have loved nothing more than to hang out at the bar and chat, but her manager often was the one who dragged her off (back to the hotel/next gig/"big name" interview, etc.) and I think some fans may have got the (wrong) impression that this was her doing. As to GP, it has only been in the last few years that we have become friendly with him (we are even thanked personally on the liner notes to the current tribute CD (Piss & Vinegar). Graham's personality/attitude towards his fans may be different now than it was 20 years ago (even I will admit, he's no longer an A list draw concert-wise), but I have seen both sides of the coin in those 2 years. When we saw him at Tramps in NYC, the tour manager/club rep? we spoke to was very rude and gave us the bum's rush when we asked if we could go back stage to get an autograph and say hello. However, when we saw him at a small club down the Jersey shore, we had no problem getting backstage to get that autograph and chat. Then, when the rest of the crowd thinned out and the roadies were loading up the tour bus, GP came out and sat at the bar and we had a very nice, long talk with him. He then started to recognize us at future shows we attended (even to the point of waving to us from the stage of the Bottom Line in NYC!) and we have never had a problem being allowed backstage to talk. When he recently appeared in concert to promote the tribute CD, he publicly thanked us for the idea and even invited my wife to come up onstage "and explain yourself!" So in closing, I would just say that the circumstances surrounding the "meet" probably have a lot to do with the performers attitude towards you. Best, Jeff ------------------------------ Date: Sun, 26 Jan 1997 13:24:39 -0800 (PST) From: John Chilson Subject: Re: John Cale/musical "heroes" My brush with a musical hero came in the late 80s when my band (The Trebels) opened for Chuck Berry here in San Diego. First off, we had a healthy amount of Chuck Berry covers. ABSOLUTELY NO CHUCK BERRY songs was what the promoter told us. Good enough. We obliged. Anyhow, there was a line to have Chuck sign stuff (he was in a surly mood--he sat in his car out in the parking lot between sets). There were a few people in front of me that had their items signed. Chuck signed my snare head ( with a smiley face even!) and I thanked him and walked away. Welp, I guess he'd had enough cuz the guy after me was denied. Chuck: "No more autographs". Guy: "That's cool. I understand, Mr. Berry". Chuck: You BETTER F*CKIN' understand!" Good ol' Chuck Berry. jc ------------------------------ Date: Sun, 26 Jan 97 21:35:00 GMT From: g.nicoll@genie.com Subject: Heats/Wreckless Eric Ahh, the Heats! Geez, it would take the Internet to drag that name up again. In 1980 I went to see Heart (ya know, the Wilson sisters, "Crazy on You," "Barracuda," etc.) at the Augusta Richmond County Civic Center in Augusta, GA. The Heats opened up, playing a very endearing set of uptempo pop. The only song I actually remember from the set was "Do You Wanna Dance" because it made a huge impression on me; at the time I'd just got ROCKET TO RUSSIA with the Ramones' cover version on it, so the song was high in my mind. After the set I bought a 7" of the Heats' "I Don't Like Your Face" from the merchandise table in the lobby. And, until I logged on this morning nearly 17 years later (!) I'd never, ever heard another word about the Heats! Glad to know they had some kinda regional Northwest following, at least. They surely deserved better. As for WRECKLESS ERIC, if any of you are completists for his stuff, you oughta call Casino Music in Atlanta and see what that sweet little label has in print. (Tell'em Greg Nicoll sent ya!) Casino's chief executive officer is a very successful restauranteur named Clay Harper who also dabbles in singing (and even runs Casino Recording Studios, where Mick Jagger cut a solo project last April). Harper brought Wreckless Eric over to Atlanta a coupla years ago and the guy was here for months, recording and performing. The resulting records have trickled outa Casino's vaults very slowly, but there was one full-on Wreckless album credited to THE HITSVILLE HOUSE BAND which didn't even have Eric's name on the outside packaging (!) and Eric also did a lotta work on one of the CDs by Clay's band, an outfit called the Ottoman Empire. During 1996, Clay issued a solo single each month on a subsidiary label, Casino Royale, all of which were executive-produced by the Clash's Kosmo Vinyl. Wreckless Eric appears on several of these, I think, as do other celebs such as Moe Tucker of the Velvet Underground. (Casino Music's address is 881 Ponce de Leon, Atlanta, GA 30306.) - -- GREGORY NICOLL ------------------------------ Date: Sun, 26 Jan 1997 19:11:55 -0500 (EST) From: Frank Uhle Subject: Re: Iron Butterfly Our radio station has an old promo lp with an interview with these guys from around '70 or so. It's hilarious to hear them talking (seriously!) about how they are going to record their next lp in a diving bell because it will have some groovy effect on their voices or some such thing (the proposed title was "Music of the Deep"). They are interviewed by some "hip" sounding dj who acts like he's talking to the likes of the Beatles or Stones, but of course our heroes are the "Stoned," not the Stones. Frank ------------------------------ Date: Sun, 26 Jan 1997 18:36:38 -0600 From: paddygav@kcnet.com (Paddy (or Steve)) Subject: brush with fame During a Buzzcocks show in Kansas City (1992?) I had the privelege to spend a few minutes talking with Steve Diggle after the show. I was curious about his interem band, Flag of Convenience, which may have been why he was interested in talking to me. He was a really down to earth guy, but all too soon he was whisked away to do whatever Buzzcocks do after a show. Also, I interviewed Emitt Rhodes after finding his name in the phone book(!). He was very cooperative, considering I had just called him out of the blue. We talked for a long time about stuff after the official interview. Granted he is no where near as big as a lot of musicians, but I was a little aprehensive at calling him initially. I have realized for some time, especially in hearing horror stories from some, that stars can at times be cocks, but I suppose even I would tire of strangers telling me how great I am. How do I get there? http://kcnet.com/~paddygav/images.html ------------------------------ Date: Sun, 26 Jan 1997 21:37:58 -0500 From: Josh Lewis Subject: Re: brushes with greatness At 04:19 PM 1/25/97 -0500, Craig wrote: > > I played pinball with Johnny Winter around 1971. He seemed like a > regular guy, considering. > I can second this one. I had a chance to interview him 2-3 years ago, and he was incredibly nice (and a good interview as well.) He's so fragile in appearance, though, that I felt as if he'd break in two if I sneezed. Chrissie Hynde (sorry about the spelling) initiated a conversation with my girlfriend a year or so ago on a subway in New York City. C.H. complimented her on her shoes (which had a fake fur pattern) and then asked with a smile if she was mentioned in the history of punk book my girlfriend was reading. Josh ------------------------------ Date: Sun, 26 Jan 1997 21:39:29 -0500 From: Paige Conner Totaro Subject: Russ Myer Date: Wed, 22 Jan 1997 09:40:52 -0500 From: Don Smith Subject: no golden turkey awards here I hope this didn't go through twice... In my opinion Russ Meyer is the only living Auteur in American Cinema, followed closely behind by Woody Allen. He single-handedly creates a vision unlike any other director working in the last-20 years. In some of his later desert films, like Beyond the Valley of the Ultravixens, he was (I believe) the only cameraman, a man in his late 50s lugging cameras up and down mountain sides only to hide himself in the editing suite and *edit* the films himself. (Woody, who I think has done great work, surrounds himself with how many assistants?). Call me a film nerd, but there is no other director who created such a personal vision on film. Beyond the Valley of the Dolls is my favorite film and arguably the best film ever made (director John Waters described Meyer's Faster Pussycat, Kill Kill as "the best film ever made, possibly the best film that will EVER be made." -so there is considerable argument on the subject). Roger Ebert described Russ's style in that he hates the moving camera and sets up each shot from a stationary position. Then he edits the films with a rapid-fire technique which predated MTV by 15 years. The best rapid-fire editing example is the Cocktail Party sequence in BVD, which is mind-numbing in it's quick-cut intensity. Milos Forman, I believe, said (I'm paraphrasing) "Americans require movies to act like psychedelics and Beyond the Valley of the Dolls does just that." William Goldman, (Butch Cassidy, Marathon Man, Fierce Creatures, Heat) who is oddly considered one of the great screenwriters of our day, first called Russ in the early 80s the "only living American Auteur." When I first discovered garage music I thought these bands who could come up with amazing riffs, great lyrics, and a generally wild sound were criminally ignored. I wanted to get out there and promote this amazing music to the masses. Sure, there are plenty of Long John and the Silvermens where the attraction is someone with little talent singing their hearts out, but great bands, like Russ Meyer, must be appreciated for their achievements which thumb their nose at the mainstream. Are the Shaggs incompetent teens or does their music take rock and roll to a new level? I don't want to listen to the Bobby Darins or the Jay and the Americans any more than I want to watch films by James Cameron or Bob Zemeckis. They're successful by pandering to the mainstream and ignoring avant-garde artistic vision... I gave up on that years ago. Hell, I'd be as happy watching Ebert slam the dumb-ass studio hacks as a critic as I would reading Lester Bangs run-down the Eagles and praise the Count 5. 'Cuz the Count 5 really ARE better than the Macarena, Home Improvement, Wonder Bread and the Gap. Don ------------------------------ End of bomp-digest V1 #19 *************************