Wendy O & Lemmy - Stand By Your Man

This one goes out to all the ladies out there.... Are you listening...?

Tammy Wynette never sounded so gnarly....

Wendy O & Lemmy - Stand By Your Man

Snakefinger - The Spot - Smelly Tongues

Here is the soundtrack to my nightmares from last night:

Philip Charles Lithman (June 17, 1949 - July 1, 1987), who performed under the stage name Snakefinger, was an English musician, singer and songwriter. A multi-instrumentalist, he was best known for his guitar and violin work and his collaborations with The Residents.

Lithman was born in Tooting, South London, and came from the British Blues scene. He moved to San Francisco in 1971 and became associated with the avant-garde group The Residents. It is said he was given the name 'Snakefinger' by The Residents themselves when they saw his proficiency with the guitar during their first live performance together. Another explanation for the name comes from a story concerning a party in San Francisco, at The Residents' collective, wherein all in attendance watched Lithman's fingers dart snake-like at the neck of his violin.

In 1972 Lithman returned to England and formed the pub rock band Chilli Willi & The Red Hot Peppers with Martin Stone, ex-member of Mighty Baby and a fellow ex-member of Junior's Blues Band. As a duo, they released the album Kings of Robot Rhythm. In 1974, as a full band and popular live act in Britain, they released Bongos Over Balham.

Chilli Willi lasted until 1975, their last record not selling well, and by 1976 Lithman was back in the United States, this time in Los Angeles, California, seeking a recording contract, shopping his rock-style demos.

After a few years, Lithman moved back to San Francisco, reconnected with The Residents, and performed and recorded with them. Lithman's solo records, recorded under the name Snakefinger, were released by their record label Ralph Records.

His first album on Ralph was Chewing Hides the Sound in 1979, featuring original material co-written with The Residents as well as esoteric covers like Kraftwerk's "The Model". The songs showcased Lithman's distinctive slide guitar playing and often surreal imagery. This album was followed by Greener Postures in 1980, which included his first solo compositions as Snakefinger.

While on tour in Australia in 1980, Lithman had a heart attack that left him hospitalized for six months.

In 1982 Lithman formed his backing band The Vestal Virgins with former Captain Beefheart sideman Eric Drew Feldman. Snakefinger and The Vestal Virgins released Manual of Errors on Ralph in 1982. This was followed by the blues cover album Snakefinger's History of the Blues: Live in Europe in 1984 and a new collection of largely original material in 1986 called Night of Desirable Objects.

Lithman performed with The Residents on their 13th Anniversary Tour in 1986. On July 1, 1987, Snakefinger and his band, The Vestal Virgins, were in Linz, Austria, on the European Night tour. During a performance at the Posthof Club Lithman suffered a fatal heart attack. On that same day his single, "There's No Justice in Life", was released.

Ironic wouln't you say...?


Snakefinger - The Spot

Snakefinger - Smelly Tongues

real life shit...

trumps all.

i feel like i'm wasting my time trying to justify my vinyl addiction....

The Human Beast - Mystic Man

HUMAN BEAST "Volume One" Rare, sought after, and absolutely excellent heavy UK psychedelic album from 1970 (Decca); alternately hypnotic and hard-driving, with intense guitar workouts in a classic psych mould; much high-caliber Eastern-influenced guitar work and cracking drums?highly recommended, although those of you who know this album will need no encouragement, I am certain; historical buffs note that David McNiven from Bread, Love and Dreams contributed the few lyrics (strange as they are) on this mostly instrumental album.


The Human Beast - Mystic Man

Noosebomb - Man's Best Friend

Monday, Monday.... as I've said before, eclectic. We do not discriminate here @ the devil's music and take on all comers!

so here is a little something to shake out the hippy from yesterday....

Some serious hate rock from Boston Mass: Tales of the alcoholocaust spun by survivors w/ big amps & blurred vision!

You only get a small taste of this wicked 4 songer from the great Land-O-Smiles label because this bitch is still in print so if you dig the evil this mutha brings head over to Land-O-Smiles and pick up a copy or 2.

The breakdown @ 1:20 is worth the price of admission alone....

limited pressing of only 500 on picture disk never to be repressed!

Take-fucking-cover!

Noosebomb - Man's Best Friend

Shawn Phillips - Moon Shine

OK i must admit that this is deffo not something i would have been listening to back in the early 80's. But as i have matured and aged i realized that if i stayed that angry "young" man all my life I'd probably be an angry dead young man or in jail so I've learned to soften my pallet a bit.... That's not to say that i don't bust out the Black Flag or Celtic Frost anymore just that I've learned a time and place for everything....

Anyway, i played this song on my radio show (when it was alive) when i had my kid there and they both really liked it as well. Enough to ask me to record it for them on tape.

and after a somewhat tumultuoius Saturday i need something a little mellow:

So here is the lowdown on this dirty hippy....

Shawn Phillips
Genre: Rock, Country, Roots
Years Active: 1960s, 1970s, 1980s, 1990s 2000s

Shawn Phillips is one of most fascinating and enigmatic musicians to come
out of the early '70s singer-songwriter boom. The mere fact that he was a
musician as much as a singer and songwriter made him stand out, and helped
him attract a dedicated following. His refusal to shape his music -- which
crosses between folk-rock, jazz, progressive, pop, and classical -- to anyone
else's expectations has allowed him to hold onto a large and dedicated cult
following, without ever achieving the stardom that his talent seems to merit.

Shawn Phillips was born in 1943 in Fort Worth, Texas, the son of best-selling
spy novelist Philip Atlee, who moved the family around the world at various
times, including the South Pacific. After hearing "Malaguena" at the piano,
he took up the guitar at age seven, and by the time he was 12, he was playing
the chords to Carl Perkins songs. Phillips' musical experience transcended
rock & roll, however -- in the course of his family's travels, he got to live
in almost every corner of the globe, including Tahiti, and absorbed the music
that surrounded him wherever he was living. He returned to Texas in his
teens, with some training in classical music but a love for performers like
Jimmy Reed and Ike & Tina Turner, among other blues and R&B performers. He
did a hitch in the Navy, and then went back to Texas before retreating to
California, where he played around the early-'60s folk circuit.

Phillips made his first record, an overproduced single of Bob Gibson's
version of "Frankie and Johnnie" for Columbia, which he followed with two
albums, I'm a Loner and Shawn, neither of which was successful. Phillips went
to England, where he performed and wrote songs with Donovan, in a
professional relationship somewhat clouded in controversy. Phillips claimed
in interviews during the 1970s that he co-wrote "Season of the Witch," as
well as a major portion of the songs that finally surfaced on the album
Sunshine Superman, but only ever received one co-author credit for "Little
Tin Soldier" on the Fairy Tale album. While staying in England, the range of
his work vastly expanded, partly with the help of the use of various
controlled substances.

He was ejected from England for playing without a work permit, and tried
living in Paris for before he headed for Italy. He settled in Positano, a
tiny fishing village. By the late 1960s, Phillips' musical expertise had
broadened to include not only different kinds of guitars, but also the Indian
sitar. After a few years of trying, he recognized that he'd started too late
and would never master the sitar in the traditional manner, and instead began
learning to make his own music on the instrument.

In 1968, he went to London with a the idea for a trilogy of albums and
recorded a major portion of it in collaboration with Traffic members Steve
Winwood, Chris Wood, and Jim Capaldi, and Caleb Quayle. No record company was
willing to commit to such an ambitious body of work by an unknown artist, and
the material languished for more than two years, until Phillips came to A&M
Records. Producer Jonathan Weston listened to his work and decided to try and
release an edited version of the music.

This became his A&M debut album, Contribution, which ranged freely between
uptempo folk-rock ("Man Hole Covered Wagon") to introspective quasi-classical
guitar pieces ("L Ballade"), and works mixing sitar and acoustic guitar
("Withered Roses"). The album got positive reviews, but it was when Phillips
embarked on his first U.S. tour, in conjunction with his next album, Second
Contribution, late in 1971, that he was discovered by much of the press.
Critics in the New York Times and other publications displayed unbridled awe
at Phillips' prowess on a range of instruments, including electric and
acoustic six- and 12-string guitars and the sitar, and his singing range, a
full three octaves from baritone to counter-tenor, as well as his
songwriting. He was one of the few singer/songwriters to play double-necked
six- and 12-string guitars (a standard feature of progressive and metal
bands) on stage, in intimate locales such as New York's Bottom Line, and to
test the full range of the hybrid instrument.

Writers lavished praise on Phillips for his unusual lyrics, haunting
melodies, daunting musicianship, and the ambition of his records -- he was a
complete enigma, American-born but raised internationally, with a foreigner's
keen appreciation for all of the music of his homeland and a seasoned
traveler's love of the world's music, with none of the usual limits on his
thinking about music. He slid between jazz, folk, pop, and classical sounds
-- it was nothing for Phillips to segue from a progressive-style mood piece
with a 50-piece orchestra into an R&B-based number driven by his electric
guitar, and back again. "The Ballad of Casey Deiss," from Second
Contribution, was a case in point, a song about a friend who died when he was
struck by lightning, scored for acoustic guitars, electric guitars,
vibraphone, and the horn section of a full orchestra, as well as
multi-layered vocals.

A third album, Collaboration, followed, along with another tour, and then
Faces, Bright White, and Furthermore. His collaborator was conductor/arranger
Paul Buckmaster, the man responsible for the choral accompaniment on the
Rolling Stones' "You Can't Always Get What You Want." On tour, he was booked
into clubs with artists such as comedian Albert Brooks, singer/songwriter
Wendy Waldman, and Seals & Crofts, and usually worked solo, surrounded by a
half-dozen guitars, or sometimes with a single accompanist, Peter Robinson,
on keyboards.

Phillips never achieved major stardom, despite his critical accolades. He
never courted an obvious commercial sound, preferring to write songs that, as
he put it, "make you feel different from the way you felt before you started
listening," primarily love songs and sonic landscapes. He made nine albums
for A&M before moving on to RCA with Transcendance in 1978, which mixed his
guitars with a 60-piece symphony orchestra and members of Herbie Hancock's
band, produced in collaboration with arranger/conductor Michael Kamen. He
also contributed to movie music by Manos Hadjidakis, and appeared in the
movie Run With the Wind.

With 15 albums behind him since the mid-1960s, Phillips has a following, in
America, Europe, and Japan, and he has performed at different world music
festivals. A cult figure whose peers include Van Dyke Parks and, perhaps,
Leonard Cohen (though Cohen's public profile is enhanced by his following, as
an established poet and author, in the literary community), he remains an
enigmatic figure on the music landscape. His work remained sufficiently in
demand in the 1990s, however, to justify a best-of compilation from A&M in
1992 that included notes by Phillips and one new song. In 1998, eight of his
LPs were re-released via the Wounded Bird label.
~ Bruce Eder, All Music Guide

Never fear I will be back soon enough to balance out the "Hippy"....


Shawn Phillips - Moon Shine

Lincoln St. Exit - Time Has Come Gonna Die

Happy Saturday Morn everybody!

I took the week off to let my mix ride, i hope some of you enjoyed it?

Sticking in the somewhat heavier side of of psych here w/ some Lincoln St. Exit.

Lincoln St. Exit were New Mexico's lead garage/psych band of the late '60s/early '70s, one of the few Indian Native American groups. All four members were New Mexico Sioux. Time Has Come Gonna Die reflects the times & the Vietnam era vibe hanging over the U.S. - Kinda creepy, kinda doomy....

Their sole album "Drive It" released on Mainstream is now a sought after items of collectors interest. "Drive It" has a garage rock feel complete with wah-wah guitar and angry young man attitude.

Here guitarists Mike Martin & R.C. Gariss are backed up by the rhythm section of Mac Suazo (bass) & Lee Herres (drums).

Off the top of my head, Redbone would be the only all American Indian band i can think off? I'm sure there are more so if you have any recommendation feel free to drop them, and i looked for a while for a promo pic of the exit but could not find a decent one...

Enjoy some Indian Rock!


Lincoln St. Exit - Time Has Come Gonna Die

The Devil's Music - Devil Dick Mix - At the Montains of Madness Psych Mix Vol. 3, Pt. 2

When I found out DJ Pres was doing this guest DJ mix thing I thought I’d put together a killer Fuzzy and Funky mix for him but when I talked to him on the phone he was all about getting some Psychedelic jams together…. I was more than happy to oblige.

It was pretty tough picking out the tunes in this mix because I could have gone on for days and days without stopping but I wanted to keep it brief and to the point and then I thought shit man, I have so many tunes I want to use why not do a sister mix!?! So I did!

I put together not 1 but 2 great sampling’s of late 60’s & early 70’s psychedelic music with some wicked fuzzy guitar tones mixed throughout, lot’s of killer organ work, some smooth but pumping bass lines and last but not least some trippy vocals and lyrics. Keep your dancing shoes under your bed for this one but bust out that bean bag chair from the attic and dust of your lava lamp, plug in you “Black Light”, break out your “sack” & burn, burn, burn!!!

So if you dig what is laying out here for your ears stop over to Flea Market Funk for the Twin of “At the Mountains of Madness Pt. 1”


Morgen - Welcome to the Void: "ABC Record's valiant attempt at the 'hip/youth' market, Probe, released many memorable LP's by such groups as Saint Steven and The Litter along with debut offerings by Zephyr, Soft Machine and Rare Bird, but none generate the frenzy at this late date quite like the quartet led by guitarist/vocalist Steve Morgen, first unleashed in 1969. Even before dropping needle on groove, the stark black-and-white sleeve with inset Edvard Munch lithograph, in contrast to the multicoloured hues so prevalent then, makes an immediate statement. And then the music makes another immediate statement... A foreboding bass riff and staccato drumming introduce 'Welcome To The Void', and for the next thirty-eight minutes one is hurled headlong into a vortex of dual-guitar overload, lyrically woven with romantic and Victorian imagery residing on a tab of microdot. Radio stations didn't bite on the single, Probe closed up shop, and the world became a decidedly sadder place."

Saint Steven - Gladcadova: Saint Steven is actually Steve Cataldo, who had previously been the guitarist and singer/songwriter for the minor late-'60s Boston psychedelic band Front Page Review. His 1969 album, also called Saint Steven, was similarly period psychedelia, w/ some Pop/rock and folk-rock sensibilities were sprinkled with bits of odd sound effects (animal roars, 1968 Republican Convention soundbites, etc.)

Eden's Children - Sure Looks Real: From Boston The Children were a three piece group. Larry Kiley the bass player and Jimmy Sturman the drummer were a constantly interesting rhythm section. The main songwriter/singer was Richard 'Sham' Schamach who was also a great guitar player. This cut from the 2nd album is from 1969. "Sure Looks Real" is nice Smooth vocal Pop that leads into an Awesome solo FUZZ ATTACK!

Lemon Pipers - I Was Not Born To Follow: The Lemon Pipers included singer Ivan Browne, guitarist William Bartlett, keyboardist R.G. Nave, bassist Steve Walmsley, and drummer William Albaugh. The group is best known for their number-one bubblegum hit "Green Tambourine" and several followups, all written by the team of Paul Leka and Shelley Pinz. The group actually wanted to play more psychedelic music; they only recorded "Green Tambourine" because their label would have dropped them had they refused. These guys get overlooked because of their "hit".

C.A. Quintet - Cold Spider: A major rarity and a major freak out record, C.A. Quintet's "Trip Thru Hell" is a spooky, murky, macabre vision. Genuinely original and chilling expeacially considering it's release date of 1968.

Fever Tree - The Man Who Paints the Pictures: Texas psych from 1968, the self-titled debut album of this unfairly neglected psychedelic band is an odd mix of slick studio work laced with surprising moments of eclecticism, from soundtrack references to hard rock worthy of the best bands of the time.

Things to Come - Dancer: Emerging from the glut of Southern Californian rock groups in the mid-'60s, Things to Come formed in 1966. Their original lineup included lead singer Steve Runolfsson, drummer Russ Kunkel (who would go on to become a top sessionman), and bassist Bryan Garofalo (also a future sessionman and a member of Glenn Frey's band since 1982). The group cut only three singles in their brief lifetime. This cut is from a 60's comp called "Speed Kills" which was made and sold to benefit "drug abusers".... heh...

Art - I Think I'm Going Weird: Classic but little known 60's Brit psych band that would later evolve into the much more know band "Spooky Tooth" released in 1967 this a "real" psychedelic record that is vamped in echo, swirling guitars, strong vocal melodies, heavy guitar riffing and great use of effects. Early & Classic indeed...!

H.P. Lovecraft - Mobin's Trip / At the Mountains of Madness: Featuring two strong singers (who often sang dual leads), hauntingly hazy arrangements, and imaginative songwriting that drew from pop and folk influences, H.P. Lovecraft was one of the better psychedelic groups of the late '60s. The band was formed by ex-folky George Edwards in Chicago in 1967. Edwards and keyboardist Dave Michaels, a classically trained singer with a four-octave range, handled the vocals, which echoed Jefferson Airplane's in their depth and blend of high and low parts. I had to end with "At the Mountains of Madness" since this is the "sister" mix to the Flea market Funk mix that ends w/ a song of the same title...

Download or listen:

The Devil's Music - Devil Dick - At the Montains of Madness Psych Mix Vol. 3, Pt. 2

The Sandells - 6-Pak

Hey peeps, happy mid-week. Here is a little something to help you over the hump.

The Sandals, also known as The Sandells, were an early, influential surf rock band formed in 1964. They are most famous for scoring the surfing documentary The Endless Summer.

The Sandals began in 1962, when Danny Brawner, a drummer, joined a high-school group called The Twangs, headed up by the brothers Gaston and Walter Georis. The Twangs were a group heavily influenced by The Ventures. At this point, the core of The Sandals was formed: Brawner on drums, Gaston on keyboards, Walter on rhythm guitar, John Blakeley on lead guitar with his brother, David, on bass. David was replaced by John Gibson early on. The band changed their name to The Shadows, and eventually settled on The Sandells, a portmanteu of "Sand" and "ells", a popular ending for groups at the time. They released their first album, "Scrambler!", in early 1964. They partnered with World Pacific Records for the release, which allowed them to come in contact with Bruce Brown, who was then just beginning editing work on his next documentary project, The Endless Summer..

The Endless Summeris one of the first and most influential films of the surf movie genre, creating and defining an entire category of cinema which has endured and evolved in the decades since its release.

This cut was featured on the soundtrack to The Endless Summer, here is my original 45 copy.

Hang 10 and drink 6!!!

The Sandells - 6-Pak

Crazy Elephant - Dark Part of My Mind

Grettings from Boston (Allston) Mass!!!

Crazy ass fucking B side here:

Anyone as old as me will remember the AM gold that was Crazy Elephants "Gimmie Gimmie Good Love" and while the below my be true. This here cut is a far cry from "Bubble Gum" music, more like a Blue Cheer bad acid trip...

Crazy Elephant was one of the seemingly endless aliases employed by the Kasenetz-Katz production duo to market their bubblegum hits of the late 1960s. Primarily a vehicle for session vocalist Robert Spencer — previously known for his performance with the Cadillacs' post "Speedo" — Crazy Elephant was the name appended to the Kasenetz-Katz production of the song "Gimme Gimme Good Lovin'"; after the master was rejected by Buddah Records, the Super K Productions duo's primary outlet, they instead shopped the track to the Bell label, for whom it fell just shy of the U.S. Top Ten in 1969. Despite the single's success, however, Crazy Elephant failed to reach the charts again, instead becoming yet another interchangeable cog in the Kasenetz-Katz hit machine.

Keep the lights "on" for this one.


Crazy Elephant - Dark Part of My Mind

The Tracers - She Said Yeah - Watch Me

Hey Mr. Red Blues Boy are you listening....???

Man-o-man what 45 this is!

Some serious 1966 Texas by way of North Dakota punk fuzz blasting on this thing.

Can you say ATTITUDE????

The Tracers - She Said Yeah

The Tracers - Watch Me

Chambers Brothers - Funky

Happy mid week people. Things have been very busy for the good ol' devil here lately so i haven't had as much time to be a posting as much I'd like but please be sure to keep checking back often as i have a bunch of nice treats lined up!

I'm sending this one out to my man DJ Prestige over at Flea Market Funk for his most excellent post on another of one of my all time fave groovy funker's! When your done over here head over and check out Donny Hathaway's - The Slums. DJ Pres is LEGEND!

I'm going with a "funky" little cut by The Chambers Brothers. When I was a wee lad "time has come today" was one of my favorite songs back then. My Mom's had one of those Columbia records box set things from being in the record "club" and i must have played that song a thousand times, of course it was the edited version and i wouldn't hear the original LONG version for many years but i loved that song, still do. But way back then who knew these were some funky bothers bringing the psychedelic rock!

Like their West Coast contemporaries Sly and the Family Stone, the Chambers Brothers shattered racial and musical divides to forge an incendiary fusion of funk, gospel, blues, and psychedelia which reached its apex with the perennial 1968 song "Time Has Come Today."

The Chambers siblings — bassist George, guitarist Willie, harpist Lester, and guitarist Joe, all of whom contributed vocals — were born and raised in Lee County, MS; the products of an impoverished sharecropping family, the brothers first polished their vocal harmonies in the choir of their Baptist church, a collaboration which ended after George was drafted into the army in 1952. Following his discharge he relocated to Los Angeles, where the other Chambers brothers soon settled as well; the foursome began performing gospel and folk throughout Southern California in 1954, but remained virtually unknown until appearing in New York City in 1965. The addition of white drummer Brian Keenan not only made the Chambers Brothers an interracial group, but pushed their music closer to rock & roll; a well-received appearance at the Newport Folk Festival further enhanced their growing reputation, and they soon recorded their debut LP, People Get Ready.

As the Chambers Brothers toured rock clubs (including the famed Fillmore in San Francisco) and R&B venues (most notably the Apollo Theatre) alike, their music increasingly embraced elements of both; after recording 1968's Shout! for the Vault label, the group signed to Columbia to issue Time Has Come Today, scoring a major pop hit with the title track, an 11-minute psychedelic soul epic in its original album incarnation. The follow-up, A New Time—A New Day, yielded another Top 40 hit, a cover of the Otis Redding's classic "I Can't Turn You Loose," but subsequent efforts including 1969's Love, Peace and Happiness and 1970's Live at Fillmore East failed to maintain the commercial momentum. Upon completing 1972's Oh My God!, the Chambers Brothers disbanded, only to reunite two years later for Unbonded. Right Move appeared in 1975, and although no new studio records were forthcoming, the group regularly performed live in the decades to follow, with the brothers also pursuing individual projects; the Chambers Family Choir, a gospel group including the siblings' own children, remained a priority as well.

While this cut is no "time has come today" it is a nice funky little nugget from their 1970 album called "New Generation".

Enjoy!

Chambers Brothers - Funky

Bill Withers - Better Off Dead

BANG!

Bill Withers - Better Off Dead

Slim Whitman - Cattle Call

Warning! This is not a joke! I dig Slim!

Seriously, i do, not in a Johnny Cash kind of "I must own and hear all of his music" way but in a strange, wow man, this stuff is just so odd i really kinda dig it...

So file this one under "Guilty Pleasure".

There's a somewhat funny story about this record and how i came to dig it...

The year was probably around 1987 or so I was out on my own for the 1st time living in the shore town of "Seaside Hts". Now if ya know anything about "shore town" these towns are EMPTY for most of the year and PACKED during the summer with renters coming from the city and filling our beautiful beaches and boardwalks with their "Benny" asses. (Don't know what a Benny is? Look it up!)

Well what does this have to do with old Slim here?

After the summer is over and all the Bennies leave and go back to North Jersey, New York and Pennsylvania they usually live a lot of shit behind in the houses the just rented for insane amounts of $$$ and well opportunist that i am i would go and garbage pick the left overs and walking down the street checking out the trash what did i find laying on the top of a pile of junk? Old Slim here...

I kind of chuckled to myself "who the fuck was listening to this shit" but quietly tucked the album under my arm and took Old Slim here home with me for a laugh.

Well i was totally surprised when i put the 1st cut on and heard Old Slim here let out some serious "Yodelling"... and it was so strange because i liked it. I mean i actually liked it! Ha ha ha! There is no accounting for taste i guess...

If anyone out there ever saw our old band Godspeed open up for Black Sabbath back in 1994 they can tell you that we used to use old Slim here as our opening muisc on that tour! Pretty funny seeing a few thousand metal heads all geared up to see their heroes of metal and the light go out and along comes this jackass band from Jersey playing Slim Whitman before they hit the stage!

So dig on Old Slim Whitman and his major "Yodelling" skills!

Slim Whitman - Cattle Call

The Fuckin' Flyin' A-Heads - Swiss Cheese Back - Watching TV

1st off i have to thank my man Mullet over @ Cosmic Doom.com for the turn on to this amazing masterpeice i am about to unfold into yer lap today. I had never heard of this record or band for that matter until he dropped the knowledge on me so thanks my man!

Not much i could dig up on "The Fuckin' Flyin' A-Heads" but what i can gather from the insert is that they were from Honolulu, Hawaii, which to me makes it even the more weird, but that's just me thinking that Hawaii couldn't possibly be as caught up with the times when this was recorded and was recorded live Jan 25, 1980 so i couldn't be more wrong. This was released on Otaro records and states to be played at HIGH VOLUME!! Screw Limitations!!! Screw limitations indeed!!!

The musicians consisted of:

Howard Nishioka - Guitar & Vocals, Eric "Sep" Ishii - Vocals, Pranks, and Dan Garrett - Drums, Bob wilson - Bass.

Behjan Mirhadi apparently wrote an Ugly Things article about them in issue 19 but i do not own nor can i find the article....

Enjoy these out-of-time, out-of-their-element, outcast bunch of freaks from the island of Oahu (?) , making an unholy din & some wild-ass psychedelic punk rock in the late 1970s...(description courtesy of http://detailedtwang.blogspot.com/)


I just found out that this 7 inch has just been reissued. Check it out here... De Stijl

also a cool interview w/ drummer Dan Garrett Here


The Fuckin' Flyin' A-Heads - Swiss Cheese Backback

The Fuckin' Flyin' A-Heads - Watching T.V.

Major Label Days: Godspeed - Houston St.

i stumbled upon this video from my major label days when i was in a band called "Godspeed" and we were signed to Atlantic records....

funny that it is on an MTV site because back in 94 they refused to play it because they said it promoted drug use! hahaha!!!

i think the only way anyone ever saw it was when it was on Beavis & Butthead....

enjoy the shitty video from yours truly playing the geetar.... (yep, if you wactually watched the video and you asked yerself is that 2 bass players? you are correct.)

• MTV
• Music Videos
• MTV Shows
• Entertainment News

Duke of Iron - Man Smart, Woman Smarter

I've moved up to Calypso lp's.....



One of today's thrift store scores for the mere sum of 25 cents....

*edit:

Because i was asked in the comments to add some music here is the 1st track off this album and a little info!

The album is from 1957 and the Duke of Iron was born Cecil Anderson in Trinidad and was a master of the art of calypso music.
The Duke was stalwart in retaining Calypso as a true form of Trinidad culture. He says " Calypso has a different rhythm all of it's own, it may resemble this and that at times but it is in a class by itself where rhythm, style and delivery is concerned. Some singers are trying to change Calypso but I want to keep it as it is.

Dig it!

Duke of Iron - Man Smart, Woman Smarter

Eugene Church & The Fellows - Pretty Girls

Let's switch hit up today w/ some R&B type Doo Wop or Doo-Wop inspired R&B whatever you prefer:

Eugene Church (b. Jan. 23, 1938 - d. April 3, 1993, Los Angeles, California) and The Fellows (members Eugene Church, Bobby Day, Alex Hodge, Tommy Williams with Richard Berry and The Dreamers)

Church collaborated with Jesse Belvin in the 1950s as The Cliques, releasing singles on Modern Records. Late in the 1950s he released 4 singles of his own, as Eugene Church & the Fellows. The first two were U.S. hits: "Pretty Girls Everywhere" went #6 R&B & #36 Pop, this cut is from 1959 and is another fave of the devil here at the devil's music so please enjoy!


Eugene Church & The Fellows - Pretty Girls

Five By Five - Fire

Here is yet another installment from the "Hendrix" files:

In 1967, a group called Five By Five, from Magnolia, Arkansas, signed with Paula. They were typical of the "cover bands" that played in clubs, doing the R&B dance songs popular at the time. Their first single was "Shake a Tail Feather" [Paula 261], issued in early 1967. They followed that with "Harlem Shuffle" [Paula 283] later that year. Although they were probably able to sell a number of copies to the folks who saw them appear live, there wasn't much interest outside the region. But in the summer of 1968, they covered a song, "Fire," off the Jimi Hendrix album Are You Experienced?. Since Hendrix' record company, Reprise, did not put the song out as a single, Five By Five was in luck. Theirs was the single version that was available when kids went to the store and asked for the song. The single entered the national charts in November, 1968 and made it up to #52. Like the group Underground Sunshine, who similarly filled a gap when they covered the Beatles' "Birthday," the cover version provided a short-term spotlight for the group, their so-called "15 minutes of fame." Today, their version of the song is rarely played as an oldie, because the original is usually played instead. As a cover band, they were certainly competent and their album is in some demand with collectors, but at best they're a footnote in rock and roll history, a band in the right place at the right time. The group was made up of Ronnie Plants (lead singer, guitar), Larry Andrew (guitar), Tim Milam (organ, vocals), Bill Merritt (bass), and Doug Green (drums). Five additional singles all failed to chart, and the group finally called it quits.

*edit: Per comments left.

Bill Merritt is listed as the bass player, and Larry Andrew is listed as the guitar player. While the album jacket has both Bill and Larry as simply 'Guitar', the actual listing should be Bill Merritt - Guitar, and Larry Andrew - Bass.

DK are you experienced?

Five By Five - Fire

The Egyptian Combo - Rockin' Little Egypt

I hope all had a good if not great mother's day? I did. a wonderful dinner at the Anchor Inn with family and friends (including a few drinks) was had by all and now were back to work here @ the devil's music:

This group has been around on the St. Louis music scene for something like half a century, with no sign of disappearing. The main members are guitarist Lloyd Rainey and the brothers Doug and Rick Linton, although some formations of the group have only featured one Linton. The group was first formed in 1961, and in three years time had recorded a song entitled "Gale Winds" which became first a breakaway regional hit, then wound up climbing as high as number seven on the Billboard charts. The single made hit parade charts throughout the Midwest, for example showing up right below Martha and the Vandellas and "Dancing in the Street" on a Chicago radio hit parade from the late spring of 1964. There was even a cover version of this song done by Quitman Dennis and the Escorts. The only other Egyptian Combo record to see any kind of chart action was "I Don't Care Anymore" featuring the vocal talents of saxophonist Kevin Cox. This record barely cracked the Top 100 in 1967. Many of the band's recordings were done at the same St. Louis studio. A label called Norman which has released much rock and jazz music from the St. Louis area pumped out singles by the band, but following the success in 1964, in stepped Dot with its larger circulation. The band signed on for gigs at a string of Playboy clubs around the country and appeared on the Ed Sullivan Show. A new contract had just been inked with MGM when Uncle Sam came along with a different offer.

Much of the group's music fits under the loose label of instrumental rock, similar in some ways to bands such as the Ventures, but not devoted exclusively to the surf music sound. Founding member Rainey wrote music for the band, including the main hit. But it also recorded various instrumental themes of the day, coming out with its own version of "Watermelon Man" when that song soundtrack theme was popular, for example, or cutting the "Theme From Dr. Zhivago" when "Lara's Song" from that weepy film was a chart smash. The original incarnation of the group featured an instrumental lineup typical of a combo of this type in the '60s, including a rhythm section, dual electric guitars, and a pair of honking saxophones. The band tried to push a more science fiction angle with a single entitled "The Invaders Are Here," written for a 1965 television show The Invaders, but ultimately rejected. Frontman Mike Adkins joined the lineup by 1966 but didn't stay long. In 1967 there was an emphasis on brass, with Rick Linton switching to trumpet and the addition of Ellis McKenzie on trombone. In 1968 a smaller version of the band undertook a tour of army bases in Vietnam. The so-called Uncle Sam tour featured a slimmed-down quartet version of the combo, in other words, the four of them that happened to get drafted. The regional popularity of the band was so intense at this point that local television stations within a tri-state area actually broadcast the induction of the members into the army and reported on their activities overseas from time to time. Cox was the first to be sent home, due to spinal problems. The slimmed-down band was a harbinger of things to come. It also made for an unusual lineup: a simple rhythm team of electric guitar and drums providing back up for trombone and trumpet. Perhaps the music this group played sounded so strange the military decided to send them home early, although at first it seemed like the idea was to escalate, sending in more troops to perhaps fill out the rhythm section in the bargain. But thankfully the musicians all made it home safely. The original three members provided the nucleus for all further members of the band, and by the group's 40th anniversary, Egyptian Combo was again a quartet with the addition of multi-instrumentalist Chris Thornton. Repertoire has evolved into a collection of cover songs that rivals any bar band, including music from the '60s and '70s, expertly played, as well as numbers from some of the group's earlier singles. Bandmember Doug Linton also fronted a band named Prana in the '70s and got heavily into heavy metal and progressive rock. In 2001 he contributed wonderfully to an internet audio tribute to the classic heavy rock band Bloodrock, by dusting off a cover version of the group's song "Kool Aid Kids" that he had recorded back in the '70s with Prana...

The Egyptian Combo - Rockin' Little Egypt

David Peel & the Lower East Side - Happy Mother's Day

Happy Mother's Day all you Mutha's!!!

David Peel & the Lower East Side - Happy Mother's Day