Atomic Cafe

Found this tucked away in the drafts folder, not sure how old it is. Someone told me the corner is now a hole with a subway in it. I remember the city was trying to sell the building for a dollar. All you had to do was move it. Maybe they were asking too much. 

That Senor Fish on the corner used to be the Atomic Cafe. Had dinner there with Darby Crash. We’d been next door at the Brave Dog. Probably summer of 1980. Darby had the wiener gotcha, a dude in a blue mohawk eating wiener gotcha. My wife got fried chicken. Banquet. I watched the cook open the box. The service was awful, food worse, it was wonderful. Wouldn’t last a week now. Hipsters want only the best food. Jonathan Gold made it impossible for any more Atomic Cafes. No more wiener gotcha. Now it’s overpriced ethno-hipster slop from food trucks. Oh well.

Atomic Cafe

Atomic Café in the daylight. 1980’s. The Brave Dog was this side of the Imports place.

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

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

Bill Direen

Let’s Play by the Builders. One of the greatest LPs you have never heard. I have a mess of greatest albums you’ve never heard, but this might be the greatest. It’s a Bill Direen project, a New Zealander you might have heard of. Maybe. What does it sound like? Vaguely sorta kinda Talking Heads, but coincidentally I’m sure, with its spare, minimal, slightly funky vibe. It’s deeper, though, more out there. It showed up in the mail circa 1987 when we still lived on Edgecliffe–perhaps you partied there once or twice (a week)–and I’ve been playing side one ever since. That’s nearly three decades of playingness and yet I’m blown away every time I play it, still. One of those. Kind of like Bob Moses Visit With the Great Spirit or Essential Logic’s Beat Rhythm News or the Airplane’s After Bathing at Baxters or S.H. Draumur’s Bless or Marlui Miranda’s Todos Os Sons or way too many jazz albums. Like that. If you’ve been that first guest at any of our parties, you’ve heard it. It has inaugurated every party we’ve every thrown, all zillion of them. Let’s play indeed.

Anyway, find it. You won’t be able to, but it’s worth it. Sometimes the hopeless quests are the best.