Plastic Bertrand

I had Plastic Bertrand going through my head all day yesterday, Someone said it was his birthday (I was never quite sure that there actually was a Plastic Bertrand…I thought it was Lou Deprijk) and shared a video which I watched nostalgically. Bad mistake. All day long I had Plastic Bertrand going through my head. Which is harmless enough–It could have been Bohemian Rhapsody or Free Bird or I Know What Boys Like–except  that I would find myself saying aloud (in a French monotone) Ca Plane Pour Moi moi moi moi moi, Ca Plane Pour Moi.  If I didn’t catch myself I’d do a couple choruses. This went on for hours. I ignored it. Last night I’d put on Joe Henderson’s Inner Urge. The title cut is one of my favorite jazz tunes ever. I can’t really express what it means to me, it’s beyond words. The lights were out and I sat in the dark and Joe was blowing and blowing and the tempo was crazy and McCoy Tyner’s left hand came down in crazy comps and Elvin Jones drop kicked and danced across the cymbals. Each soloed. Bob Cranshaw’s turn came and the bass was down, solid, grooving. Then expressive. Exploring. The music grew hushed. The room was silent. I closed my eyes and laid back awaiting Joe’s tenor return. It’s one of those jazz moments where space and silence means so much. It was just perfect. Everything silent except for the bass. And in that absolute quiet, that zen perfection, I heard another sound. It was a voice, my own voice. “Ca Plane Pour Moi” I sang, “Ca Plane Pour Moi moi moi moi moi….”

Plastic Bertrand

Plastic Bertrand

Mars

Oh yeah, here’s Mars doing “Puerto Rican Ghost” off of No New York. Brian Eno produced. You probably won’t like it. You probably really really won’t like it, even. There’s only two kinds of music, Duke Ellington said. I’m not sure where this fits in. I know it can clear a room, except for a few weirdos. My kind of people, those weirdos.

And here’s “Tunnel”,  also from No New York. I think this used to be my favorite cut on the record back in the day. Who knows how many people I tormented with it at maximum volume. I recall playing it one Halloween and some tiny trick or treaters wouldn’t come to the door. I turned it off. Three and a half decades later it’s still a crazily imaginative piece of music (or “music”), the aural sensation of a hurtling subway is pretty incredible. That had to be Brian Eno creating that sound, knowing what buttons to press and levers to push to get that feel, like George Martin assembling “Tomorrow Never Knows” or Teo Macero editing Bitches Brew from an unholy mess of jam sessions. Back in the late ’70’s and even into the ’80’s “Tunnel” sounded stunningly alien, even scary, but I guess all the crazed electro creations of the past couple decades have sunk in and now this thoroughly analog thing sounds a little more conventional. A little more. As it spins it forms itself into a groove in my head. I can imagine people dancing to it. Weird people, yeah, but weird people dancing. Which is the title of an essay if I ever heard one. Not this one, though, but one full of weird people dancing. What a sight they make.

Mars

Spiral Scratch

I remember picking up the Buzzcocks’ Spiral Scratch EP back in 1979. The first self released punk record ever. You remember: Boredom/boredom/boredom. That one. It was a reissue and cost $4.99. That is $17 in today’s bread. $17 on a 7 inch record. That seems stupid to me now, but then made all the sense in the world.  I spent all my money on records then. I lived on top ramen and had an incredible punk rock record collection. It was all brand new, this crazy music, and buying the latest out of England was like buying be bop in the forties, obscure, expensive, essential and there went the rent money. I wore that Spiral Scratch out. Played it every day. Boredom, boredom, boredom. If you know it you’re hearing it now in your own skull. At some point in the early eighties, stoned, I lent my copy to my bass player. Sometime in the mid 80’s it wound up in his record collection in the trunk of his car when he was arrested at the Grand Canyon with no registration, several unpaid traffic tickets and a pocket full of blotter they never found. He said it was beautiful, the Grand Canyon, all the colors, the space, the presence, the being and unbeing, and he tripped his entire two week stay in a Clark County jail as well. He never went back for his car or belongings, and they were eventually auctioned off to someone who became the proud owner of an obscure Buzzcocks 7″. Not to mention a Some Chicken single. Some years later we can imagine a record geek, tired of the casinos and buffets and normal people, fleeing the casinos to haunt the thrift stores far from the Strip. Amidst the dreams and detritus he comes across my Spiral Scratch for a dollar, and something called Some Chicken. Oh boy. He shows them off to other record geeks. They’re green with envy. The years go by and he matures, takes a gig as a web developer, and bores of punk rock records and tattoos. Tattoo removal is expensive, so he puts the records up on Ebay and makes hundreds of dollars. Now he looks like a Republican and buys yacht rock and is screwing his secretary. He probably doesn’t even exist, but still, I hate the little fuck. And while the Some Chicken doesn’t bother me, I haven’t heard Spiral Scratch in thirty years.
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Never lend anything to a bass player.
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Spiral Scratch.

Best practices

Best overdose I ever saw at a rock show was in San Francisco at some inner city commune called The Farm. It was staffed by old hippies and full of hardcore punk kids. This was the mid eighties and I remember the punk band MDC was on going on about capitalism and dead cops while off message right in front of the stage about half a dozen skinheads were slapping the shit out of one of their brethren who’d apparently done a little too much junk. One would grab him by the collar of his leather jacket and give him a full bodied crack across the face. Another would give him a crack across the face the other way. Each took their turn slapping him and finally after a maybe a dozen blows he came to. Best practices, I guess. They yanked him up and walked him around on rubbery legs, dropping him once or twice. Eventually he was sort of standing on his own, while they were trying to slam dance and falling down. By then there was some band from Seattle on with a gorgeous singer and one of the skins tried to yank her into the pit by her ankles and she brained him with the mike stand. He went down hard, bleeding profusely, but I don’t think he noticed, he was up again, laughing and wobbling and giving her shit and fell down again, blood everywhere. His friends dragged him out by his collar and tried to staunch the bleeding with a band shirt they stole off the merchandise table. About that time I said let’s get out of here and on the way out a kid in an MDC shirt cajoled a buck out of me for a Revolutionary Worker. Make sure to read what Chairman Avakian says about the fascist war on drugs, he said. I said I would. All drugs should be legal, he said. Sure, I said, why not.

Cafe NELA

(2014)

At Cafe NELA for Eddie Rarer’s birthday party yesterday. Eddie digs the solid rock’n’roll bands but fooled us by booking a lot of zany–way zany–avant garde acts. Whew. When I walked in the joint the blast of Hookah’s white noizoid sound knocked me clean back out into the middle of Cypress Avenue where I was run over by a Smart Car. Totalled it. I apologized and tried to enter Cafe NELA again. I leaned into the sound and made it to the bar. Hunkered down and clung to my beer and a rogue sound wave broke right on top of me and washed me back out into the street right in the path of a truck mounted on monster wheels so high it passed right over me, and I was standing up. I made it back to the sidewalk and hid outside. But I had left that beer on the bar. I got down on all fours and crawled back in. Hookah was raging, screaming, dissonant, artistic. But there was my beer. I could see it. With sisyphean effort I crawled slowly to the bar and hunkered down beneath it. With one hand I reached up and grabbed my PBR. The can quivered as if alive. The roar of Hookah went on and on and then suddenly, as if the very pit of Hell had opened up beneath them and swallowed them whole, all was silence. The audience burst into applause. It was Hookah’s crowd. They’d dug every blast. I’d survived. Art damage lives.

How cowardly I, a jazz critic, had become.

Went out into the beer garden while the next act set up. It’s a popular place, that beer garden. Full of bohemians, freaks and neer-do-wells. They tell stories, some even true, and wonder about lost hair. The women listen to the men’s aches and pains and roll their eyes. Twenty somethings mention their parents. Sometimes we know their parents. Even are their parents. Gigs are planned and bands discussed and suddenly they all have the munchies. A beeline is made for the Salvadoran place next door. They’re cheap and they’ll even bring your food to you right at the bar. I ate a delicious meal that way one night at Cafe NELA watching Don Preston and a free jazz saxophonist from Philadelphia. Yesterday the nice restaurant lady brought over the huevos rancheros I’d ordered. By the time I’d made it back to them the eggs had been sonically transmogrified into a chicken named Pancho who was now the bar mascot, so I skipped dinner.

Hanging out in the beer garden I suddenly heard the unmistakable guitar playing of Carey Fosse. Very talented guy, that Carey Fosse, trapped between rock and funk and jazz and avant garde. He touches on all of them, mixes them, drops them, picks them up again, makes weird shapes. He rocks rootsily, funks groovily, jazzes swingfully, avant gardes freakily. We stood down in the beer garden where by some sort of Twilight Zone miracle we could hear it all perfectly. Cool. We could hang and laugh and bullshit and rag on each other with a Carey Fosse soundtrack. I said time to go in and watch but Donny Popejoy showed up in a Pabst Blue Ribbon tee shirt easily worth another ten minutes chatter. OK, time to go watch Carey Fosse. He was riffing away way cool. I got to the door in time to see him putting away his guitar. It’s all in the timing.

But he had sounded great outside anyway. Very talented guy, that Carey Fosse. Next–unless I’m missing somebody–Ape Killed Ape was entertaining if drummerless. There was a real rock band on at the end I wanted to see but our colds caught up with us and we fled into the night. Great place, that Cafe NELA. The latest–maybe the last even–in the weirdo loser underground hang continuum. It’s been a long way since Al’s Bar. A lot of water under the bridge. And a lot more cheap beer.

Cafe NELA

Cafe NELA is at 1906 Cypress Avenue, Los Angeles 90065

Devil Doll

Or there’s always this method, she posted, adding a link to the trailer for Devil Doll, an old MGM horror from 1936. Born of a revenge crazed mind, the screen said. The strangest story ever told. Lionel Barrymore looking twisted, Maureen O’Sullivan looking innocent, Robert Grieg looking quite unlike a butler. Will you dare believe what your eyes behold? it asks. I can’t remember why she posted this.

But it reminded me of a very noisy band from the very weird Basel, Switzerland scene in the late 80’s. The band was called Fluid Mask and they released a huge mess of a double album called, I think, Fluid Mask. I thought it was pretty great. You wouldn’t. Well, a few of you might, but most of you would have pulled it off the turntable and frisbeed it off my balcony as far as it would go. Jazz fans, rock fans, no matter. It just irritated everybody. Continue reading

Swell Maps

When I was a kid, a 20 minute album side seemed to last forever. Now in the sudden silence I hear my joints creak as I get up to flip the thing over. Albums also didn’t used to cost $25. And the inner sleeves were full of tiny pictures of Tijuana Brass and Ohio Players album covers. Those were simpler times.

These LPs are heavy, man. Like those old Deutche Gramaphone platters we weren’t allowed to touch, Beethoven looking all scary on the cover. Real platters, those, thick as manhole covers. They didn’t waste that kind of vinyl on rock’n’roll, though. I remember I had a Jeff Beck album so floppy it couldn’t even frisbee. I tried it once, and it wobbled earthward like the stricken alien ship in Earth vs Flying Saucers. Then I played it and it seemed fine. Not this thing though, if you frisbee’d it you could hurt somebody. Delicately I flip the record. God if I scratch this thing it’s like dropping a whole bottle of Jamesons.

Damn, I remember this tune. “City Boys”. I had the 7″. Buzzsaw punk rock, baby, old school, the real thing. I had this shitty turntable back then turned up to 11 at four in the morning. Oh man, I’d hate to live next to the me then now. Amazing how great this ultra low fidelity recording sounds on high fidelity vinyl. If you’d told Swell Maps in 1978 that someday kids would pay twenty five dollars for this music on ultra high quality vinyl they’d think you were on drugs. Of course, you would be. Those were fun days.

Swell Maps somewhere in England way back when. Wish I knew who took the nphoto, but I do know someone who plays a saxophone almost that small.

Swell Maps somewhere in England way back when. And while I wish I knew who took the photo, I do know someone who plays a saxophone almost that small.

Feels Like


micronotz smashStill one of my very favorite punk rock records of the 80’s, Smash! by the Micronotz is represented digitally by a grand total of two songs, though alas both are the same songs, one is just mistitled. So here is “Feels Like”, on MySpace no less, the only evidence that this record ever existed in the whole digital universe, though I have the analog version tucked away with my other vinyl only a few analog steps from where I sit here, peering into the ether. The Micronotz were from Lawrence, Kansas sometime in the early mid-80’s, when that raw, urgent, dissonant, shredded vocals midwest sound saved punk rock from playing the same Ramones based riffs over and over at different speeds. The Micronotz managed this classic LP or 12″ EP, actually, in the parlance of the time, then the singer, Dean Kubensky split, another member killed himself, and the band became just another midwestern band. It was like that then, though, these brief, brilliant flashes, so for an album or two the Replacements and Soul Asylum were great, and Hüsker Dü managed a four or five albums stretch. There were other bands, too, scattered across the great American plain wherever there was a college town–brief, brilliant flashes that might last an album or two, or maybe just a single, or even only one incredible song on some long forgotten regional compilation that I only know of because it’s on one of my ancient compilation tapes, that being what record collectors did back then, make compilation tapes. But that whole Midwest scene turned pop and predictable soon enough, and I lost interest, never being a pop fan, and loathing anything predictable. I still do. Unpredictability was the rule then, pure spontaneity, as we lived by days and hours, figuring Reagan or the Russians would start World War Three any second and we’d be gone in the searing flash of a hundred thousand simultaneous Hiroshimas. We really thought that. We had to. We’d all grown up fearing instant annihilation the way stoned kids a today worry about being vaporized by a giant asteroid. So the next year wasn’t something we thought about back then, there was no point, we could all be dead by then anyway. That was the line, even, “we could all be dead by then anyway”. That was our way of saying why bother? It was an existential ennui that we battled with punk rock madness. You can pick up that desperate urgency in this tune. The tempo, the ferocity of the playing, the desperation in the singer’s voice. This is déjà vu for me, and being epileptic I have a familiarity with a déjà vu none of you can imagine, déjà vu so intense it sent the universe spinning and dropped me to the floor, sick and unaware what year I was in. I hear this tune now, pulled from the ether, and I am slammed back into my twenties, when I haunted record stores looking for rock and roll that felt like the very end was upon us and we were screaming into the void, telling the world to fuck off. I still feel that way, but I’m older now, and the epilepsy meds are better, and the world will not blow up any second, and all my friends have gotten old and nostalgic. So I write, and sometimes I find ancient punk rock tunes like this and I remember, but more than remember, I feel, and know again what it felt like to feel like this. It felt good, scary good. It all felt good. The edge, the precipice, the lack of any meaningful future for us in Ronald Reagan’s world, it felt so good. We partied and rocked and fucked and laughed like there was no tomorrow. But there was, and I’m in it, partied out, rocked out, fucked out, but still laughing.

 “Feels Like” by the Micronotz

Thirty bands

Wow this thirty band thing. It’s like some kind of plague. Infected, I tried coming up with thirty bands I shared the stage with and all I could come up with was Beatlemania, the Norman Luboff Choir and Corrosion of Conformity. Then I remembered I wasn’t actually on the bill, that was just the line up of the Lollapalooza no one talks about. I was supposed to be on a Gong Show once, sharing the stage with Chuck Barris, but cell phones weren’t invented yet. I played drums for Sky Saxon twice in one night, neither time voluntarily. And I remember once opening for Green Day, they were the 13th band on the bill, we the first. We were so first, in fact, the manager wouldn’t open the doors and our half dozen fans stood outside, listening through a window. Sort of like the sound check we never had.

I did have a guy leap stark naked into my drum kit once. To make things worse he was the guitar player. One of the guitar players. The other was slithering across the stage like a snake. That left me and the bass player, or just the bass player, actually, as there was a naked stoned guitarist flailing about where my drums used to be. I remember another time when the stark naked daughter of the district attorney of Ventura County ran screaming across the floor into my drum kit but didn’t fall in. I don’t remember if I said anything, but I do remember that her rack toms were bigger than mine. Heavy metal sized. An autistic guy fell into my drum kit once.

When this stuff stopped happening I got bored with drumming and became a jazz critic.

I did actually play with Joe Baiza a couple times at Al’s Bar on No Talent Night, but his attorney told me never to mention that. I also opened for Black Flag the very weekend they got arrested for playing punk rock music. In fact, they had just gotten out of jail. The LAPD called them nuisance in publics or something like that. Anyway, they put them in jail and this song is called revenge and it’s for them. It’s not my imagination, I got a gun at my back.

Otto’s Chemical Lounge

Dig this: “Departure Blues” by Otto’s Chemical Lounge.

I’m amazed–appalled?–that this is the only cut I could find on YouTube off this amazing album. Otto’s Chemical Lounge were not only one of the most inventive bands to come out of Minneapolis in its heyday (speaking of Minneapolis….), but OCL were one of the great bands of the entire 80’s. One of the greatest even.  Noisy as hell, rocking but swinging, they had great dynamics for a punk band of the time (we were all incredibly loud back then) and some crazy ass guitar. The music is plenty loose in the stretch but tight on the changes, which come hard and fast. Insane stuff. I’ve had my copy of Spillover for thirty years and still play it. If only I could have seen them live. They never came out west. The successor band did. They were called the Blue Hippos. I saw them at Club Lingerie in Hollywood in the late 80’s and they were good, but not as good as the original. But the Blue Hippos were brand new. You got the feeling that Otto’s Chemical Lounge had been around a while, jamming hard in the basement through winter after dreadful winter, and if not the most popular band in town, they just might have been the most ingenious. There’s a mindphuque Shakin’ All Over on the record, and an intense take on the old Flamin’ Groovies classic Slow Death. The originals are best of all, though, a good thing. Spillover is just one of those splendid records that never seemed to make it onto compact disc, or onto anything really, except a record geek’s mix tapes, and who knows where those wind up.

I couldn't find a picture of the band back in the day, but I found this record geek shot of the album.

I couldn’t find a picture of the band back in the day, but I found this record geek shot of the album.