From: owner-bomp-digest@xnet2.com (bomp-digest) To: bomp-digest@xnet2.com Subject: bomp-digest V99 #73 Reply-To: bomp Sender: owner-bomp-digest@xnet2.com Errors-To: owner-bomp-digest@xnet2.com Precedence: bulk X-To-Unsubscribe: Send e-mail to majordomo@xnet2.com with "unsubscribe bomp-digest" in the body X-Bomp-web-site: http://www.bomp.com X-BompList-Administrator: efd@interport.net bomp-digest Monday, February 15 1999 Volume 99 : Number 073 It's another issue of bomp-digest, the digest version of the Bomp list. To unsubscribe, send an e-mail with the words "unsubscribe bomp-digest" to majordomo@xnet2.com or use the form at . The following subjects are included in this digest: Re: Dans le lonely garage APiandes@aol.com Re: 80s scene "Blair" Riot on Ludlow Street "Deena Canale" Re: No more Boss... "Garrett Brittenham" Re: Dans le lonely garage "mimi la twisteuse" Milkshakes Joe Bonomo [none] "James Bond" Re: Milkshakes "Blair" Re: Mighty Caesars SHBEVLON1@aol.com Re: Let's Work Out! It's "T" Time! Lelia Ellen Raley FW: Mighty Caesars "Kereakos, Andrew R." Frankenstein 5 "James Bond" Re: Milkshakes Constantine Mekios dans le lonely garage "Erin Truscott" Re: How Mojo learnt about garage... boldface@easynet.co.uk Re: Untamed Youth boldface@easynet.co.uk Re: Diary Dates boldface@easynet.co.uk Re: Thee Headcoats boldface@easynet.co.uk Vinyl Auctions Go To The Auction Houses TweeKid@aol.com Re: Untamed Youth APiandes@aol.com Let's Work It Out - T - time "Germani, Greg" Re: Dans le lonely garage Moparlary@aol.com Re: No more Boss... Moparlary@aol.com organs and other vintage equipment "Blair" 60s in the 80s William H Jones Re: 60s in the 80s "Blair" Electric Banana Hitomi I Re: bomp-digest V99 #71 Crusher050@aol.com RE: Cicadas "MARKMAN, PETER" RE: 80s scene Christopher Phillips Re: 60s in the 80s Rocky Serkowney ---------------------------------------------------------------------- Date: Mon, 15 Feb 1999 07:56:03 EST From: APiandes@aol.com Subject: Re: Dans le lonely garage Ron Thums wrote: > We > don't ever solicit requests -- first, because we play entirely from our > stash, and we don't haul our record libraries to the studio with us. I'd say about half of the 3 hours of tuneage (45-55 tunes) on C & S eminates from my collection, including 99% of cuts from the comps. I yell out the request line number at the top of each hour when I have to ID the station. I don't go in expecting or hoping for a whole heap of requests, so I fill in a lot of stuff I think to play off of the top of my head. If I get new stuff into the station and I like it, I'll play more than one cut off of it. Frankly, the reason I don't play more off of the new stuff I really like the day I get it is so I can get more mileage out of the LP/CD, that is, spreading the cuts out over six or eight or 10 broadcasts. Three out of four shows I do solo and I have three hours to fill, gotta fill it somehow... > Second, because it just opens the floodgates for a lot of totally > inappropriate requests. (Really, it makes you wonder if some of them come > from folks who are even listening to the program. Good point! I mean if you're playing nothing but stuff off of the "Pebbles" and similar comps (which I've done) for the past hour, how would a cut from the "Sandanista"-era Clash fit in if the listener was truly listening to what I was trying to do? Like I wrote in my last post, I have five or six regulars who will call in every couple weeks or so with requests for cool BOMP!ish type of stuff. I know some of their names and where they live and and the calls don't always involve requests. Sometimes they turn me on to new tuneage or what band is coming to town. Sometimes they ask me about a specific cut I played and how to get it. It's amazing how much free advertising I do for the labels, a lot of it for labels that won't send WMFO any free stuff for their archives. I've had a number of callers (this numbers in the teens) call after my shift and discuss various things about the genres I play (for the most part) on my show or how to get into community radio. WMFO has a freeform format, that is, the DJ plays whatever he or she wants. I choose to specialize somewhat. Of all of the shows that post playlists to The List, mine probably has the most inapproriate tuneage within, simply because musically I can admit to being somewhat of a dilletante. Occasionally, I'll question the appropriateness (sic) of a request to a caller and they'll say, "Hey, it's freeform radio isn't it?" This tips me off that they are indeed listening, as MOFO plugs itself rightly as such. Despite Boston's rep as a community radio mecca, just about all of the college/community stations have some kind of rotation or block programming. > Whenever someone DOES call in a request (and it fits in with > the genres we play) we'll try to dig it up and play it the following show, > working a set around it. Actually we get a lot more requests for a specific > ARTIST than songs though, and that makes it easier. I get a number of those. Ite DOES make it easier. >(BTW, I concur with > kopper's suggestion -- a DJ/programmer can encourage more calls/requests by > "thanking" listeners for previous calls/requests, even if there weren't > any. I don't often do that, simply because I don't think of it and while I like the calls, like Michael says, I'm gonna do the same show anyway whether I get any calls or not minus the totally off-the-wall requests I might get every other week or so... > Personally, I would much rather talk to a listener and find out what kind > of music (artists, genres) they like to hear on the show, than to fill > specific requests. It's these calls that make doing radio worthwhile. > I think specific song requests work better anyway on a > longer show (say, three hours) than one that runs 60-90 minutes. If you > actually CARE about the structure of your show, do you really want to break > up the flow to accomodate some totally off-the-wall request? I sure don't. > This matters more on a shorter show, where on a longer one there's more > opportunity to bury the damn thing. It's not much better on a long show. I would rather play a "Goofy Great" or an old Coca Cola commercial than a crappy request, believe me. I've begun to shoot some requests down, but some callers are really persistent, I shit you not. I just keep pluggin', like Ron says and I'm gonna keep pluggin' til I can't or my son becomes some Little League hotshot, whichever comes first. Alex Piandes Coffee 'n' Smokes WMFO (91.5fm) Medford, MA "Serving the garage/punk/surf/psych/rockabilly/pop obscurities community for nearly 1/50th of a century" The website: http://members.aol.com/apiandes/Main/ ------------------------------ Date: 15 Feb 99 09:12:40 -0500 From: "Blair" Subject: Re: 80s scene >It was so interesting reading these posts about when and where people saw >bands, its kind of like a vicarious experience. Its good to know some >people dont take for granted where they live and take full advantage. >Living in Australia I can only wish to have seen The Lyres, >Chesterfields...I'm soooo jealous. But I did take every living opportunity >to see the Stems and yea the Gurus (and now DM3). Blair what do you think >of DM3?. I'm actually a huge fan of just about everything I've ever heard Dom Mariani do, be it The Stems, the Someloves, The Stonefish (*killer* surf instro mini-LP, esp. "Hook In My Mouth"), the DM3, or even just his role as guitar player with the Summer Suns. To me, a guy like Dom Mariani deserves to be a star. On the Hoodoo Gurus' front, I'm just glad they were popular enough that they played the US a number of times. While I still believe their first two LP's were their best, I always made sure I went to their shows when they were in town. They were a phenomenal live band. I'm also very pleased to have been introduced to Dave Faulkner by Keith Streng. He proved to be a super nice guy. I'm still waiting for him and Keith to form a side band together as they've long threatened. Blair ------------------------------ Date: Mon, 15 Feb 1999 09:33:52 -0400 From: "Deena Canale" Subject: Riot on Ludlow Street Just wanted to let the NYC listers know that Gary Balaban, a.k.a. Tony Scopitone, is screening "Riot on Sunset Strip" as part of his Cine-Noir Film Society series at the Pink Pony Cafe, 176 Ludlow Street, this Thursday, Feb. 18. 9 p.m., 3 bucks. Deena ------------------------------ Date: Mon, 15 Feb 1999 07:36:51 -0700 From: "Garrett Brittenham" Subject: Re: No more Boss... >Another great band down the shitter. What caused the breakup, Garrett? Uh, I guess I did. I was getting kind of tired and bored with it, and I guess I'm ready to do something else. Not sure what yet, maybe a couple few months off, then some stuff more in a Mod direction, or I've been wanting to start a Beat band pretty bad for the last couple years... Anyways, the breakup is pretty sad for us. I was hoping they'd go on after I left, but I guess they didn't want to. Thanks for askin', and for the nice words. Sorry to clog up the list... Garrett ------------------------------ Date: Mon, 15 Feb 1999 06:48:32 PST From: "mimi la twisteuse" Subject: Re: Dans le lonely garage > >When you have people fill in for you, what sort of stuff do they play?The same kind of music? Or do they do their own thing? You should >definitely only have people fill in for you who will play the same style of music, otherwise listeners will get confused. It just helps to stay consistent. > A couple of times during your show, say something you just played >was "by request", even if it wasn't (try not to make a big deal out of it, though). A lot of times when people hear this, they'll think, "oh cool, she's playing requests!", and then call ya up with a couple. It's worth a try. > I appreciate the advice, but after 3 years, I know 'em all! Don't think this is getting to me! I was just curious to see what it was like for other dj's. I'm overwhelmed by all your responses, especially Denis thinking my show's better than Flipped-Out's! Flipped-Out is probably the reason why I have a radio show, and it was by listening to his show that I decided something should be done, but in French. Oh, and the fake requests? Doesn't work! People in Montréal don't care about garage, and the reason why people call in when someone fills, it's because they play stuff people will know, like Bardot, Ramones,etc. Don't worry, I'd rather have no one fill in and have the Bomboras cd play over and over than have some moron fill in. Mimi ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Mon, 15 Feb 1999 07:09:22 -0800 (PST) From: Joe Bonomo Subject: Milkshakes >There are, of course, a few bands I'm kinda bummed I never got to see from >the mid-80s... Of these, The Telltale Hearts, The Stems, and The Milkshakes The Milkshakes were one of my favorite bands of the 80s (and I just had a nostalgic listen the other night). Wasn't there a rumor in the mid-80s that they played, or were going to play, New York? Blair, remember that one? Joe _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com ------------------------------ Date: Mon, 15 Feb 1999 07:39:59 PST From: "James Bond" Subject: [none] Bompkins, Alas, Gaven's and I attempt at a Barbarians tribute band was halted by the fact we couldn't master their unique rendition of "Mr. Tambourine Man". As a second resort, we opted to do a Music Machine tribute but I spent all the money on dark navy blue clothes (how was I to know?) and accidentaly bought the CD's of that 80's The Music Machine/Gloria Estefan type group to learn. Gee, I sure dropped the ball on that one... As a result, I am now taking offers on a pair of sandals (slightly worn) and a blue turtleneck. Also, one blue glove. will take best offer... James B. P.s. Does anyone know how to get rid of dark blue hairdye? Thanx... ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: 15 Feb 99 11:05:40 -0500 From: "Blair" Subject: Re: Milkshakes >The Milkshakes were one of my favorite bands of the 80s (and I just >had a nostalgic listen the other night). Wasn't there a rumor in the >mid-80s that they played, or were going to play, New York? Blair, >remember that one? I don't remember that one! I did see an English band at the Dive one night... The Cannibals, maybe? I remember being somewhat disappointed. I did see Thee Mighty Caesars at the Bad Music Seminar in early November of '88, though. Hmm, a question for the UK listers... seeing as Thee Mighty Caesars are playing the Las Vegas Grind, is there any hope of ever getting The Milkshakes to come over to the US for a reunion gig at one of the fests? Blair (currently looking forward to Thee Headcoats in May) ------------------------------ Date: Mon, 15 Feb 1999 12:38:52 EST From: SHBEVLON1@aol.com Subject: Re: Mighty Caesars since it's Thee Mighty Caesars reunion I guess there's no chance of Bruce Brand bein there for any numbers eh? Maybe Paul can answer this one...but anyone else know? Thanks, Evan ------------------------------ Date: Mon, 15 Feb 1999 12:56:40 -0500 (EST) From: Lelia Ellen Raley Subject: Re: Let's Work Out! It's "T" Time! > The Birds & The Bees (Astronauts+King Uszniewiecz) Jewel Akens. > > The Old Master Painter (Beach Boys) Weren't we just talking about Frankie Laine? Or is this another of his "Music of your Life" format colleagues? > > There's always something there to remind me (Lou Christie+Golfs) Sandie Shaw > The Wayward Wind (Gene Vincent+Scorpions) Gogi Grant > > The way you do the things you do (Cherry Roland+Trends) > Temps, o' course! > > Three Coins In The Fountain (Atlantics+Chantays) Vic Dana? > Till There was You (Beatles+Missing Links) From "The Music Man" by Meredith Wilson, so - Shirley Jones is the original Marion I guess. > > Too Many Fish In The Sea (Mitch Ryder+Young Rascals) The marvelous Marvelettes > > 24 Hours from Tulsa (was it Gene Pitney?) > It was, yes. Dusty Springfield did it too. Lola ------------------------------ Date: Mon, 15 Feb 1999 11:57:17 -0600 From: "Kereakos, Andrew R." Subject: FW: Mighty Caesars I'm pretty sure it's gonna be Del (Graham Day) on the traps. It wouldn't be the Caesars without him. As great as Bruce is, Del has also got the shit going on when it comes to laying down the beat. - -----Original Message----- From: SHBEVLON1@aol.com [mailto:SHBEVLON1@aol.com] Sent: Monday, February 15, 1999 11:39 AM To: bomp@xnet2.com Subject: Re: Mighty Caesars since it's Thee Mighty Caesars reunion I guess there's no chance of Bruce Brand bein there for any numbers eh? Maybe Paul can answer this one...but anyone else know? Thanks, Evan ------------------------------ Date: Mon, 15 Feb 1999 10:14:05 PST From: "James Bond" Subject: Frankenstein 5 Comrade Bompers, Anybody got anykind of info or tapes of a Canadian group called the "Frankenstein 5"? Although I understand the band was no great shakes, I hear the organ player was really cool. I would like to write him. Anybody knowing anything please let me know... "Sam" Bjoned from Sweden ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Mon, 15 Feb 1999 14:21:07 -0500 (EST) From: Constantine Mekios Subject: Re: Milkshakes On 15 Feb 1999, Blair wrote: > Blair > (currently looking forward to Thee Headcoats in May) I didn't know about Thee Headcoats playing in NYC this May but I saw that Holly Golightly will be here (I saw she's scheduled to play at Maxwell's) sometime soon (March?). Dinos ------------------------------ Date: Mon, 15 Feb 1999 11:29:51 PST From: "Erin Truscott" Subject: dans le lonely garage Hey Mimi! Don't ask me how I got all those calls, especially since they weren't even panting guys! (This is Toronto, after all!) Mostly girls! I know, I couldn't believe it either. I think it had to do with the fact that I was filling in for someone who tends to play more outright punk stuff and I was playing girl garage sounds from the 60s to the 90s...I think that must have appealed to the chicks that usually listen to this guy's show. Maybe you could switch timeslots for a bit and see if you can snag an unknowing audience into your web? I would definately call you...that first time I was on the phone with you and you were doing your show wasn't too bad...maybe you could call me???? Bye for now, Erin ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Mon, 15 Feb 1999 20:03:57 +0000 From: boldface@easynet.co.uk Subject: Re: How Mojo learnt about garage... >and young Mojo was still listening to the >Father Abraham & the Smurfs in his crib Huh!? When I was round Mojo's place last wee that's exactly what he was doing! What can I say? When I was in my mid-teenage years I used to see Thee Milkshakes/Mighty Caesars quite regularly because they were a local band but was actually listening to rockabilly and r&b 99% of the time. It was only when a rockabilly DJ started playing stuff by The Sonics that I got the notion to delve into the 60s stuff a bit more - a friend (Sean Law, now living back in Vancouver) had a load of 60s-80s garage band albums and made me a tape - all the garage band records that I now consider classics. Now I'm listening to 70s punk as well as all sorts of things that I was too narrow minded for as a 15 year old. Okay, I agree with Mojo that a lot of the 80s bands sound dated now - but I thank G*d they existed because they kept the music alive and influenced tons of people who are still doing cool stuff now. Some people need to take their head out of the sand and take a good look around and stop trying sohard to be "cool" (for example, claiming to find it amusing that I bought records by ATV, Electric Chairs, GTOs, The Knack, Young Rascals, Bern Elliot, and Nero & the Gladiators all in the same afternoon. To me that's like saying you only like blondes...). - PJ ------------------------------ Date: Mon, 15 Feb 1999 20:04:06 +0000 From: boldface@easynet.co.uk Subject: Re: Untamed Youth >The Untamed Youth...................(USA) Just got the 45 on the Double Crown label and was quite surprised. Come on Down to my Boat being well known by Every Mother's Son isn't a song that I'd have expected them to cover but they do a fantastic job with it. Anyone else heard it yet? - PJ ------------------------------ Date: Mon, 15 Feb 1999 20:04:14 +0000 From: boldface@easynet.co.uk Subject: Re: Diary Dates * The Downliner Sect (totally original line-up) play at The Big Club, HQs, West Yard, Camden Lock, London NW1 Sunday 21st February Doors open 8pm Entry £2 (£3 after 10pm) * A benefit for Heinz takes place on Monday 5 April at The Lord Nelson, 100 Holloway Road, London N7 The line-up is still to be confirmed but is sure to include a number of groups that also recorded with Joe Meek. NB. This is a public holiday and therefore will probably be an all-dayer. ------------------------------ Date: Mon, 15 Feb 1999 20:04:26 +0000 From: boldface@easynet.co.uk Subject: Re: Thee Headcoats On Thursday I'm being interviewed by the BBC for a documentary about Billy Childish. The questions will be about the Medway scene in general and about the influence he's had on other performers. If anyone out there has any good points to make it'd be a great help for me to construct some useful answers to the questions. Is this cheating? I don't care...I just want to promote the music so any comments are appreciated. Thanks. - PJ ------------------------------ Date: Mon, 15 Feb 1999 15:01:24 EST From: TweeKid@aol.com Subject: Vinyl Auctions Go To The Auction Houses There was an article about this in yesterdays New York Times, so I decided to check out the web site with regards to the following auction at the William Doyle Galleries in NYC. The following is from the Doyle Web site: ROCKIN' RHYTHM N' BLUES: THE FINE VINYL AUCTION An extraordinary single-owner collection of records. Including almost 60,000 singles, EPs, LPs and CDs by The Beach Boys, The Beatles, Buddy Holly, Roy Orbison, a selection of recordings by Elvis Presley on the Sun label, rare rhythm and blues and rockabilly among numerous other recording artists from the early 1950s through the mid 1990s. The sale also features juke boxes, disc jockey equipment, lights, disco balls, Solid Gold scrapbooks, posters, photographs and ephemera Auction: Tuesday, February 16 at 10am Exhibition opens February 13 For further information or to consign property to Collectibles auctions, please call Tara Ana Finley at 212-427-2730, ext. 211 You can check out the catalogue at: http://www.doylegalleries.com/catalogues/990216.html I'm going to play hooky tomorrow from work and check it out....I want #473 but I'll be sitting on my hands all the way. Matthew T. Kaplan ------------------------------ Date: Mon, 15 Feb 1999 16:01:42 EST From: APiandes@aol.com Subject: Re: Untamed Youth PJ wrote re:The Untamed Youth Come on Down to my Boat > isn't a song that > I'd have expected them to cover but they do a fantastic job with it. Anyone > else heard it yet? I have and I've broadcast it. It is indeed a song you wouldn't expect 'em to do, but somehow they've made it their own, no mean feat considering the original was quite popular over here. I also thought they did an excellent job with it. Alex Piandes Coffee 'n' Smokes WMFO (91.5fm) Medford, MA > ------------------------------ Date: Mon, 15 Feb 1999 16:56:43 -0500 From: "Germani, Greg" Subject: Let's Work It Out - T - time >Tryin' To Get to You (Astronauts+Elvis Presley+Roy Orbison) >>Was Elvis the original? I'm guessing the original was by the R&B group The Eagles, from around 1953 I think. All grown up, now! Greg ------------------------------ Date: Mon, 15 Feb 1999 16:55:13 EST From: Moparlary@aol.com Subject: Re: Dans le lonely garage In a message dated 99-02-14 20:07:03 EST, you write: << There's a time-honored tradition of making up Letters To The Editor in the print media as well, >> Uh....not in this or the last decade at the four newspapers I've worked at. In fact we've had some people who were limited to one letter a month becasue they'd write on and copy very newspaper in the state. And letters are facted checked to make sure you don't write one and sign your neigbors name to it. (we've caught some folks doing that!) But seriously I have know DJ's to amplify an on air response or lack of it to suit their needs, especially during on air fund raisers. the truth is out there?......Moparlary ------------------------------ Date: Mon, 15 Feb 1999 16:59:29 EST From: Moparlary@aol.com Subject: Re: No more Boss... In a message dated 99-02-15 09:38:26 EST, you write: << Thanks for askin', and for the nice words. Sorry to clog up the list... Garrett >> what are you kidding? after the vine debacal, your post is just a whisper. And condolances on the band passing....Moparlary ------------------------------ Date: 15 Feb 99 17:13:46 -0500 From: "Blair" Subject: organs and other vintage equipment For those of you looking for Farfisa organs... The above URL is for a store in, I think, Pennsylvania. This is their vintage instruments page... http://www.jdmusic.com/used.html ------------------------------ Date: Mon, 15 Feb 1999 17:27:03 -0500 From: William H Jones Subject: 60s in the 80s Steve Coleman testified: > covered in 1978 by The Fleshtones when hardly anyone ('cept Monoman and a few others) could give a shit about garage music You got that right Steve! I was just spinnin' some 45s that I haven't listened to in a while and I put on my two DMZ 7" records - the Bomp EP (1977) and the Crypt live EP (1978). Both contain versions of The 13th Floor Elevators' "You're Gonna Miss Me" and the live record includes their cover of The Chocolate Watch Band's "Are You Gonna Be There (at the Love In)?" By picking up on the energy inherent in these recordings, Jeff "Mono Man" Conolly showed that he was definitely ahead of his time (odd as that may sound), as were The Fleshtones. I'm curious if JJ Rassler can tell us whether the other DMZ band members were as familiar with these 60s garage acts as Mono Man was, or if he "introduced" them to this (at the time) fairly obscure stuff? > Thankfully Conolly and Zaremba remain with us and are still just as consumed by that teen spirit as they ever were. I'm thankful for that too - knowing that I can still go see The Lyres and Fleshtones at any gig and know they'll be sweatin' and shakin' and movin' and groovin' and so on. I only hope they'll remain that "predictable" forever! : - ) > Sure I love The Chesterfield Kings and Tell Tale Hearts but they are, and for ever will be at least in my books, a pastiche of their record collections. To some extent I agree with that sentiment - it was great fun in the mid-80s to be a part of the NYC garage revival thing, but there was a feeling (IMHO) that certain bands (Fuzztones, Tryfles, Blacklight Chameleons) were more about recreating the look and atmosphere than others (Vipers, Secret Service, Mosquitos, A-Bones) who were more about playing music with the spirit of 60s garage energy. It was an amazing feeling to hear these bands do stuff like "Shot Down" (Vipers), "Lovin' Machine" (The Secret Service), "Let's Stomp" (Mosquitos), etc. To me, The Chesterfield Kings, Fleshtones, and Lyres provided both the energy and a great look, and that's why they were so damn entertaining! I only wish I'd been able to see The Tell-Tale Hearts, Gravedigger V, Pandoras, and other highly-regarded west coast garage acts. > I really believe these guys are just as essential as a host of lesser talents credited as garage icons. Who else on the garage scene is as highly regarded as Pete Zaremba and Jeff Conolly? Nobody, methinks. They're the cream o' the crop. Be seeing you, Bill ___________________________________________________________________ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866] ------------------------------ Date: 15 Feb 99 17:47:35 -0500 From: "Blair" Subject: Re: 60s in the 80s >Who else on the garage scene is as highly regarded as Pete Zaremba and >Jeff Conolly? Well, Billy Childish for one. I suppose The Hoodoo Gurus aren't as highly regarded by the garage scene as The Fleshtones & Lyres, but I (for one) think they deserve to be. Their early material took many cues from wild rock'n'roll action. While I think their records after Like Wow Wipeout didn't quite touch the magic of that one and its predecessor, Stoneage Romeos, they were always a phenomenal live act. Another person (also recently mentioned) who deserves a ton of recognition for all the great recordings he's done over the years is Dom Mariani (Stems, Someloves, Stonefish, DM3, etc.) But you're right that the 'Tones and Lyres are among the most highly regarded acts, at least by those of us who've been around for a bit. Still, the garage scene in general doesn't always seem to give these bands the respect their music deserves. I mean, as much as I love the Mummies (well, the first couple years, before all the breakups, etc.), I don't rank them nearly as highly as The Lyres and Fleshtones. However, the point I believe Steve was making was that people give all this credit to bands who made one or two 45s in the mid-60s, then went on to either record complete dreck OR settled down to a regular life. Meanwhile, guys like The Fleshtones have kept it up for over 20 years, sticking to their guns, playing great rock'n'roll. And yet you hear people ignore them and yak on and on forever about some band that did *one* decent single in 1966. Personally, I think Steve has a point. Blair ------------------------------ Date: Tue, 16 Feb 1999 07:53:09 +0900 From: Hitomi I Subject: Electric Banana Hi I have Prettythins' anonym band Electric Banana CD and LP. I want to know the program. Let me know anything about it. - -- *************** Hitomi I************************ Trans World '60s Punk:Cutie Morning Moon http://www.kiwi-us.com/~hitomi/ Join '60s garage Paradise(BBS) http://cgi.kiwi.ne.jp/~hitomi/chat/gb_s.cgi Download '60s Garage Comps Database:Searchin' For Shakes http://www.kiwi-us.com/~hitomi/searchin.htm ------------------------------ Date: Mon, 15 Feb 1999 17:36:48 EST From: Crusher050@aol.com Subject: Re: bomp-digest V99 #71 Hello. I'm not sure exactly what the question was, but I believe someone asked about the origins of "Stagger Lee" and "Statesboro Blues." Well, I know that "Statesboro Blues" was recorded by Blind Willie McTell in 1931. And "Stagger Lee" was recorded as "Stack O' Lee" by Mississippi John Hurt in 1928, but by then it had already been in the public domain for about seventy years. It is most likely African American in origin. I could tell you more about that one if you wanna know. OK. bye. - --The Crusher ------------------------------ Date: Tue, 16 Feb 1999 10:12:50 +1100 From: "MARKMAN, PETER" Subject: RE: Cicadas >>That's what I want (Guy & the Turks+Tony Jackson) > >I have a 45 by this title that came out in early '64 on RCA, by "The >Cicadas"--someone trying to imitate the Beatles. It actually charted in >Seattle. The song was written by Carter/Lewis. I don't know anything >more about it. Well that's interesting, I've often wondered why the Cicadas' 45 was so common on US sale lists! They were actually an Australian band - the first to immigrate to England, in fact. They later became the Gibsons and had at least one record on Deram. Peter M PS: The Henchmen do a monster version of That's What I Want, which can be dug on the Ugly Things CD. ------------------------------ Date: Tue, 16 Feb 1999 09:41:32 +1030 From: Christopher Phillips Subject: RE: 80s scene One band that i regard as being important in introducing me to the scene is one that is largely ignored due to them being more famous for campy pantomime punk in the 70's, but when The Damned recorded that album as Nazz Nomad and the Nightmares, it opened up a whole new world for me. Also the Lime Spiders in Australia meant that this sort of music was actually getting airplay (The gurus always did but the Stems went largely ignored by most radio stations). On listening to that Nazz Nomad album recently, it ain't that great, but hell, it headed me in the right direction. chris > -----Original Message----- > From: JOANNA M [SMTP:feedbackmag@ozemail.com.au] > Sent: Monday, February 15, 1999 4:38 PM > To: bomp@xnet2.com > Subject: Re: 80s scene > > > It was so interesting reading these posts about when and where people saw > bands, its kind of like a vicarious experience. Its good to know some > people dont take for granted where they live and take full advantage. > Living in Australia I can only wish to have seen The Lyres, > Chesterfields...I'm soooo jealous. But I did take every living opportunity > to see the Stems and yea the Gurus (and now DM3). Blair what do you think > of DM3?. > > The one thing I did notice about the Kings (who I thought were > >>brilliant) was when they played with the Hearts, was their schtick was the > >>same in LA and San Diego. Despite putting on a wyld show, with Greg > >>banging > >>mike stands to no end, the jokes and stage moves were identical at both > >>shows. > >>Still, seeing them was a highlight in my life, they were brilliant. > > > >Well, 'tis verily true that one of Greg's bits was always obliterating mic > >stands (he took out a nice chunk of ceiling in a few clubs with 'em, as a > >matter of fact.) However, I always thought of that to be Greg's prop. > > > >As to jokes... Hmm, well, it was rare that I'd see them two nights in a > >row, except if they played Maxwells one night and NYC the next. But then > >they knew damn well they were getting a good chunk of the same crowd, so I > >suppose they wouldn't even consider pulling out the same bits. > > > >I saw the Kings numerous times in the mid-80s, since I was going to school > >up in Rochester, then I'd be home on Long Island (within striking distance > >of NYC) on vacations (which somehow seemed to be when the Kings would be > >hitting town.) Besides, People's Express had flights from Rochester to > >Newark off-peak for $38 round trip. I knew a couple of Rochester high > >school girls who used to head down to The Dive for a good weekend. > > > >Every show The C. Kings did in the mid-80s was mind-numbingly great. They > >blew the doors off every club they were at. I remember someone asking me if > >I was sorry I hadn't been around for the 60s, or that I'd missed out on the > >NYC punk scene. No way. The scene I was experiencing in the mid-80s (be it > >up in Rochester, with the Kings, Projectiles, Swing Set, Absolute Grey, > >Hidden Charms, etc., NYC with the Fuzztones, Vipers, Outta Place, Tryfles, > >et al., or on Long Island with The Mosquitos, Secret Service, Plastic > >Device, and more) was phenomenal. > > > >To me, bands like The Chesterfield Kings, The Fleshtones, The Hoodoo Gurus, > >and The Lyres were at least as good as any of the bands I was hearing on > >Pebbles comps. And this gets back to something that Steve Coleman was > >saying... All I had to go on with those bands were a couple of recordings. > >With the bands I was seeing, not only did they have a bunch of records, but > >I got to see just how damn good they were live. (And, to me, the live show > >is the absolute indicator of how good a band is.) > > > >In the mid-80s, The Chesterfield Kings were one of the absolute best on the > >block. It's true that I didn't like the direction they went with Berlin > >Wall of Sound, but, well, bassist Andy Babiuk says he hated that one, too. > > > >There are, of course, a few bands I'm kinda bummed I never got to see from > >the mid-80s... Of these, The Telltale Hearts, The Stems, and The Milkshakes > >are at the top of my list. I suppose I could throw the early Creeps onto > >that list, too. > > > >But I saw some amazing rock'n'roll. Sure, some of the bands were very into > >the 60s look/sound. It didn't matter to me, 'cuz it was great rock'n'roll. > >It's possible that such material may not stand the test of time simply > >because it wasn't done in 1966. To which I respond, if I played it back to > >back with a 60s track and didn't tell you, would you not enjoy it? > > > >Just another point of view, > > > >Blair > > > > > > ------------------------------ Date: Mon, 15 Feb 1999 18:09:34 From: Rocky Serkowney Subject: Re: 60s in the 80s At 05:47 PM 2/15/99 -0500, you wrote: > >But you're right that the 'Tones and Lyres are among the most highly >regarded acts, at least by those of us who've been around for a bit. Still, >the garage scene in general doesn't always seem to give these bands the >respect their music deserves. > >I mean, as much as I love the Mummies (well, the first couple years, before >all the breakups, etc.), I don't rank them nearly as highly as The Lyres >and Fleshtones. > >However, the point I believe Steve was making was that people give all this >credit to bands who made one or two 45s in the mid-60s, then went on to >either record complete dreck OR settled down to a regular life. Meanwhile, >guys like The Fleshtones have kept it up for over 20 years, sticking to >their guns, playing great rock'n'roll. And yet you hear people ignore them >and yak on and on forever about some band that did *one* decent single in >1966. Personally, I think Steve has a point. I totally agree with Blair and Steve about the well-deserved legendary status of the Fleshtones and lyres in the modern garage context, but I think it's also okay to go nuts over something really incredible from the 60's...even if it was just a short-lived or one-off phenomenon. Luv of an paying homage to such oscurities is what fueled the great careers of Zaremba, Conolly and Childish after all. Rocky. ------------------------------ End of bomp-digest V99 #73 ************************** ===================================================================== You've been reading bomp-digest, the digest version of the Bomp list. To unsubscribe, send "unsubscribe bomp-digest" to majordomo@xnet2.com