Dave , Well , you know , I'm not ruling out everything. As I say , I was'nt able to check all of that stuff out. There ARE'NT a whole lot of gifted lyricists out there , not that I'm hearing , at least..... 
 
dave said:

Good point, John, and thanks for listening. Music is one of the most personal forms of art we have, and I have no problem with anyone not taking my views.

As far as lyrics go, I'll agree w/ ya, hardly anybody has decent lyrics. The Kent 3 were the last band I heard who were wordsmiths. Turbonegro's 2 classic lp's were hilarious, but I don't know if I'd say that the lyrics were super.

But lately I find myself getting into more atmospheric cuts by bands w/ 4-to-15 minute songs, esp. when I'm online. Maybe being online is what the original hippies felt when they got stoned and listened to acid rock, haha.

I joke. But it's probably more like Jerry Dammers liking voodoo songs. 'I can really get into 'em, but when I finally zone out, the song's over'.

Anyhoo, thanks for giving 'em the old college try. Guess I'm turnin' into one o' then World Music types! Pass the spliff...

Cheers, Dave

Good point, John, and thanks for listening. Music is one of the most personal forms of art we have, and I have no problem with anyone not taking my views.

As far as lyrics go, I'll agree w/ ya, hardly anybody has decent lyrics. The Kent 3 were the last band I heard who were wordsmiths. Turbonegro's 2 classic lp's were hilarious, but I don't know if I'd say that the lyrics were super.

But lately I find myself getting into more atmospheric cuts by bands w/ 4-to-15 minute songs, esp. when I'm online. Maybe being online is what the original hippies felt when they got stoned and listened to acid rock, haha.

I joke. But it's probably more like Jerry Dammers liking voodoo songs. 'I can really get into 'em, but when I finally zone out, the song's over'.

Anyhoo, thanks for giving 'em the old college try. Guess I'm turnin' into one o' then World Music types! Pass the spliff...

Cheers, Dave

DAVE , HAVING TROUBLE ACCESSING SOME OF THAT STUFF. IT'S NOTHING YOU DID , OF COURSE......I WANTED TO LOVE THE STONER METAL AND LATTER DAY HEAVY PSYCH BANDS WHEN THEY STARTED TURNING UP , BUT THE ONES I'VE HEARD REALLY LACK SUBSTANCE.      THAT ACID KING (FROM CHICAGO? I DON'T THINK SO , BUT THERE WAS A BAND CALLED ACID KING OR KING ACID , HERE , CA. EARLY 90'S , THEY WERE'NT VERY GOOD.)IS AN EXCELLENT EXAMPLE. IF I SMOKED WEED , I GUESS I'D DIG IT , BUT , IT'S GOT A COOL 'POUR BATTERY ACID ON THE AMPS AND SEE WHAT HAPPENS SOUND' AT FIRST , UNTIL YOU REALIZE THERE'S NOT MUCH MORE TO IT THAN THAT......JUST LIKE JAPANESE NOISE /PSYCH ROCK. I TRIED TO GET INTO IT , BUT , THERE'S NO SONGS.

I'M NOT HEARING MUCH IN THE WAY OF NEW BANDS , LIKE THAT , THAT IS DOING IT FOR ME. YOU COULD SAY I'M TOO CRITICAL......IT'S LIKE WHEN ALL THESE BANDS WERE TRYING TO SOUND LIKE THE BUTTHOLE SURFERS , AND , NOW , YOU'VE GOT THESE NEWER GROUPS DOING THE SAME , TO A DEGREE. IT WAS MORE FUN WHEN ONLY THE BUTTHOLE SURFERS SOUNDED LIKE THEY DID , AND FORMER HARDCORE BANDS WERE SCRAMBLING TO GROW THEIR BEARDS OUT AND BUY DASHIKIS , BUT , IF THEY WERE LUCKY , FOUND SOMETHING OF THEIR OWN..... LITHIUM XMAS HAD THE SCORCH AND THE FEEDBACK , BUT THEY HAD SONGS .    I DUNNO. WHEN BLUE CHEER FINALLY MOVED BACK TO THE STATES , I THOUGHT IT WOULD BE A GOOD IDEA TO PUT 'EM ON THE ROAD WITH SOME HIP , HAPPENING STONER ROCK BANDS , THE ONES WHO ALWAYS CITED THEM AS AN INFLUENCE , TO TURN THE YOUNGER CROWDS - WHO SHOULD HAVE BEEN FANS , BY THEN , ANYWAY - ON TO THE MOTHERFUCKING MASTERS. DID'NT REALLY HAPPEN , BUT , THE LAST TIME THEY PLAYED HERE , IT WAS ON A BILL WITH 3 OR 4 STONER BANDS , PROBABLY ALL BIGGER THAN THE CHEER IN THEIR OWN RIGHT , BUT , WELL AWARE OF THE DEBT THEY OWED THEM . NEEDLESS TO SAY , THE CHEER BLEW ALL THESE YOUNGER BANDS OFF THE STAGE , BUT IT WAS A LITTLE TOO LATE. HAD DICKIE LIVED , HE'D HAVE PROBABLY GONE BACK TO PLAYING TO 50 TO 150 PEOPLE A NIGHT, AT LEAST IN CHICAGO......Sorry , that has little to do with new bands doing this stuff. But , just creating a racket still is'nt enough. Songs are still a good idea.

Joe Buck Rules!

Zoot Allures said:

Seems like Hasil has inspired a new generation.
Anybody heard of Joe Buck?


or Molly Gene?

Another good one is Fly and His One Man Garbage. I also have a friend in Denver that goes by The Limbs who has toured some with Mosquito Bandito. He's not a rockabilly/primitive blues guy but he puts on a great show and is well worth checking out.

Ghislaine , That's a great line "(They) wrote 21 songs that are ALL hits".

     I think The Remains were in a very unlikeable position , in that they were better Musicians and Songwriters than most Garage bands of their time , BUT , their songs did'nt sound terribly commercial , either. To US , those songs are timeless hits , but , in their time , they , somehow , did'nt work within the framework of AM Radio . They could have had a hit single , but , where would they have gone from there ? Albums were'nt selling big , yet , even though they , and several of their contemporaries , put out great albums at the time. The Remains had about every opportunity a band could have dreamed of - The Ed Sullivan Show , Hullabaloo , and an opening spot on The Beatles' very last tour. But , they were on the bottom of the bill , and all the other acts (The Ronettes , The Cyrkle , Bobby Hebb) had hit records. I don't know if drugs factored heavily in their demise(I have'nt read Barry Tashian's book.)....Artistic differences probably had a lot to do with it , plus , outside of Boston , they could'nt get arrested. Doing The Beatles tour had to be invigorating and demoralizing at the same time. Imagine going out to tens of thousands of people who just don't want to see or hear you. They split up right after that tour , maybe they figured this was as good as it was going to get. Sadly , they would have been right. But , at least , time has been very good to them , and they're held with high regard , today. AND , they're still playing , today. I saw them a few years ago , and they were phenomenal. I'D URGE ANYONE WHO HAS THE CHANCE TO GO SEE THEM.
 
Ghislaine said:

woops i remember posting a discussion about the definition of ''selling out '' a  while ago,the discussion turned sour  and it was finnally closed.:( The Remains...kept it ''small''if i may dare to say while they deserved the top cos they are heroes!I read that it was poor decision making of them  that they split due to abuse of substances.But who knows if it wasnt for artistic reasons?Cos ,when you write 21 songs that are ALL hits...maybe you gave it all...i dont know.

Not that it matters , but , it occured to me , The first time I saw Sonic Youth was in 1986.

I only saw them in 2003 because they were opening for The Stooges. Same with Shellac , a few years later.
 
John Battles said:

....While I agree , especially with the last line you wrote , D.A. , not everybody who's smug makes it , or gets branded a sell out. No one would call Albini a sellout , but , he's as smug as they come. I've seen him in action. I'm sure he has a "Cool" side and all that , and , yes , Big Black were contemporaries to Sonic Youth , so he witnessed firsthand whatever changes they made to become moderately famous , so his comments are not unfounded. But , their popularity seems like a fluke , in hindsight. I liked Sonic Youth to a point , but , not enough to buy their records. However , I saw 'em twice in '87 and once in 2003. They sounded exactly the same in '03 as they did when I first saw them , playing to about 40 people . I found Big Black , Rapeman , and Shellac uncommercial as Hell , but , that did'nt mean I liked them. Whatshisname , Big Black's ex - Bassist , he's got my respect , because he's the only person of any note from the Chicago music scene that I used to see riding on the el train with his axe.    You WILL be branded a sellout if money is your only motivation. The Pulsebeats' comment about working with The Dirtbombs , earlier , a grand for a band as popular as they are is'nt that much at all (Though it was'nt clear - to me  - as to whether he was talking Dollars or Pounds , or whether that was a large amount to pay , compared to other bands.).  Those guys draw several hundred people a night , maybe more in Europe.

On the same token , The Gories could have reformed just about any time after about 1995 and been the huge draw they are , now , or close to it. They were virtually unknown outside of Detroit in their day , and only got bigger by splitting up , a strange but effective career move. But , I know Mick and Danny well enough to know their motivations for breaking up the band , and , finally , reforming , were not shallow. If they did tour their asses off , now , yes , the money would be very good , but , they still just do what they feel like doing. They deserve whatever the Hell they do get paid. I was third on the bill to them , two years ago , and even I was surprised with what the club paid me. I'm very , very used to working not for profit , or for next to nothing, so it made up for a few gigs I had to do for free , and I got to work with some people I really like. I think we share the philosophy that , yes , you should work your touchas off , be you big or small. People came out to see you , you should work HARD , BUT , some things are better left to chance . Maybe that was'nt Sonic Youth's attitude about it , but , by the time they'd infiltrated the mainstream , I was, like , "Who cares?".

....While I agree , especially with the last line you wrote , D.A. , not everybody who's smug makes it , or gets branded a sell out. No one would call Albini a sellout , but , he's as smug as they come. I've seen him in action. I'm sure he has a "Cool" side and all that , and , yes , Big Black were contemporaries to Sonic Youth , so he witnessed firsthand whatever changes they made to become moderately famous , so his comments are not unfounded. But , their popularity seems like a fluke , in hindsight. I liked Sonic Youth to a point , but , not enough to buy their records. However , I saw 'em twice in '87 and once in 2003. They sounded exactly the same in '03 as they did when I first saw them , playing to about 40 people . I found Big Black , Rapeman , and Shellac uncommercial as Hell , but , that did'nt mean I liked them. Whatshisname , Big Black's ex - Bassist , he's got my respect , because he's the only person of any note from the Chicago music scene that I used to see riding on the el train with his axe.    You WILL be branded a sellout if money is your only motivation. The Pulsebeats' comment about working with The Dirtbombs , earlier , a grand for a band as popular as they are is'nt that much at all (Though it was'nt clear - to me  - as to whether he was talking Dollars or Pounds , or whether that was a large amount to pay , compared to other bands.).  Those guys draw several hundred people a night , maybe more in Europe.

On the same token , The Gories could have reformed just about any time after about 1995 and been the huge draw they are , now , or close to it. They were virtually unknown outside of Detroit in their day , and only got bigger by splitting up , a strange but effective career move. But , I know Mick and Danny well enough to know their motivations for breaking up the band , and , finally , reforming , were not shallow. If they did tour their asses off , now , yes , the money would be very good , but , they still just do what they feel like doing. They deserve whatever the Hell they do get paid. I was third on the bill to them , two years ago , and even I was surprised with what the club paid me. I'm very , very used to working not for profit , or for next to nothing, so it made up for a few gigs I had to do for free , and I got to work with some people I really like. I think we share the philosophy that , yes , you should work your touchas off , be you big or small. People came out to see you , you should work HARD , BUT , some things are better left to chance . Maybe that was'nt Sonic Youth's attitude about it , but , by the time they'd infiltrated the mainstream , I was, like , "Who cares?".

Okay, yeah. I don't think you read the quote -- or maybe you don't understand what he's saying. So I'll explain it:

There is in place a vast underground community of musicians who operate either non-profit or for profit bands without the blessing or consent of the mainstream music industry. The hardcore American punk movement of the 80's pioneered and established this community with blood, sweat, tears, and lots and lots of hard work and dedication to the idea that inherent to operating within the established system of corporate music is the willingness to compromise your art. To maximize sales you must maximize appeal. If you need a lesson on how to maximize the appeal of a band just go ahead and turn on your FM radio. It all sounds kinda sorta the same, right? It's almost unambiguous in it's homogeneity and that's by design.

It should be said that working outside the corporate music structure is not easy. It's more work for less pay, but the work you do has meaning and the roads you travel on were paved a long time ago by girls and guys with bands and zines they never thought would get anywhere.

To put it another way, being an independent musician is not idealistic -- it's realistic. All that underground music you worship wouldn't exist if every band was as smug and entitled as The Black fucking Keys. Fuck em'.

That's the best way of putting it, as you need your band to be financially viable. If you change your sound, it's considered suspect by some. The Anarcho-punk band But Alive split up and their vocalist, along with a few other members, teamed up with a ska-punk band and went to a direction influenced by Coldplay and Snow Patrol.  They said that it was so they can write more personal material, but wouldn't some people see this as selling out, even if they run their own record label (as they do)?   

Let's say you were in a hardcore band in the early 80's, for the sake of argument. Your band comes to a point where you can't carry on the way you are, but you don't want to end up playing heavy metal either. Where would you go?

I'd go to a direction like the Brian Jonestown Massacre or indie pop, but who would see it as selling out?

I notice that when people talk about selling out, they sometimes overlook artistic progression, aging out or even disillusionment.  Even Kurt Cobain confided the latter in his diaries, apparently. I wonder whether selling out is just, at times, something to limit development by keeping themselves adolescent.

The Pulsebeats said:

It's not that black and white though. For me, the idea of selling out comes down to one of two things.

1. Endorsing something you oppose for cash. Now that can be anything from GM Motors to Disney to Chump Change Mini-mart.

2. Changing your sound because you specifically want to make more cash.

John Lydon has stated that the butter ads he did paid for the making of the latest PiL record. Does that make him a sell out?

When Radiohead toured Kid A around its release, they did it in a tent in parks so that they didn't have to play corporate arenas. The only beer on sale inside the grounds was Budweiser. Sell outs? Or taking some corporate cash in order to help them achieve their own artistic goal. They've also since gone back to playing said corporate arenas. Sell outs?

Did the Clash sell out when they made Combat Rock, or did they just happen to write a bunch of more commercially sounding songs as they aged? Strange that they were accused of selling out when earlier clash songs rallied against other punk bands for the same crime. That said, they were signed to CBS. Not exactly underground.

Nicky Wire of the Manic Street Preachers, again responding to claims in their early days that they'd sold out, said that they did so the moment they signed a recording contract as from that precise moment it was no longer simply about the music.

Kings Of Leon stated from the outset that their goal was to become one of the biggest bands on the planet. Not to write a classic album or influence people and help them expand their miands. Nope, to simply become one of the biggest bands on the planet. By that measure, can anything they ever do be construed as selling out?

What was Sonic Youths heinous crime?

As fans, I think we project our ideals onto our idols. We regard them as untouchable and unsulliable. But we do not know them. In the vast majority of cases, we do not know what they aspire to and what they believe in and support down to the minute details, so who are we to say when someone sells out, because really it's an accusation that is leveled at almost every punk/garage band who break out of the underground. Put yourself in their position a while. Imagine being offered the exact same job that you have now, except with quadruple wages and better conditions. You gonna turn it down?

Going back to Schmo's initial post, my initial thoughts of bands that have kept it successfully underground are Fugazi and The Dirtbombs. Don't know if they've been offered anything that they declined so as not to sell out. I know The Dirbombs survive because they tour like motherfuckers and charge about a grand a night to play (at least that's what they charged when I booked them for their last Manchester show anyway). I once read that Mick Collins still lives with his dad because having his own place makes absolutely no financial sense. 

I think with art, and more so with music, we equate independence with credibility. If that's the case, my mate Gaz is a more credible film-maker than say Christopher Nolan, who like totally sold out when he made a Batman franchise. What a doosh!

We want artists to struggle and fight to be heard. But if the only people who hear them are their neighbours, what's the point in the struggle?

To clear it all up, just check the Moby Equation.

D. A. Anguiano said:

Well I think we've officially heard from the "Take the money and run" camp. I was planning on typing out a few sentences on why I think its a dogshit idea for independent musicians to schill for a particular movie/corporation/tv show/book, but I'm tired. So this Steve Albini quote about Sonic Youth being idiots will have to do:

“[A] lot of the things they were involved with as part of the mainstream were distasteful to me. And a lot of the things that happened as a direct result of their association with the mainstream music industry gave credibility to some of the nonsense notions that hover around the star-making machinery. A lot of that stuff was offensive to me and I saw it as a sellout and a corruption of a perfectly valid, well-oiled music scene. Sonic Youth chose to abandon it in order to become a modestly successful mainstream band — as opposed to being a quite successful independent band that could have used their resources and influence to extend that end of the culture. They chose to join the mainstream culture and become a foot soldier for that culture’s encroachment into my neck of the woods by acting as scouts. I thought it was crass and I thought it reflected poorly on them. I still consider them friends and their music has its own integrity, but that kind of behavior — I can’t say that I think it’s not embarrassing for them. I think they should be embarrassed about it.”

Weezer's reponse when their label told them to bin half an album and write some hits.

...they still went back and did it though.

Oh, and making it. That's easier. Simply being able to live and support my family through playing live and selling records. Not easy nowadays when people are more inclined to spend 5 quid on an over-priced coffee than they are 1 to download a song.

It's not that black and white though. For me, the idea of selling out comes down to one of two things.

1. Endorsing something you oppose for cash. Now that can be anything from GM Motors to Disney to Chump Change Mini-mart.

2. Changing your sound because you specifically want to make more cash.

John Lydon has stated that the butter ads he did paid for the making of the latest PiL record. Does that make him a sell out?

When Radiohead toured Kid A around its release, they did it in a tent in parks so that they didn't have to play corporate arenas. The only beer on sale inside the grounds was Budweiser. Sell outs? Or taking some corporate cash in order to help them achieve their own artistic goal. They've also since gone back to playing said corporate arenas. Sell outs?

Did the Clash sell out when they made Combat Rock, or did they just happen to write a bunch of more commercially sounding songs as they aged? Strange that they were accused of selling out when earlier clash songs rallied against other punk bands for the same crime. That said, they were signed to CBS. Not exactly underground.

Nicky Wire of the Manic Street Preachers, again responding to claims in their early days that they'd sold out, said that they did so the moment they signed a recording contract as from that precise moment it was no longer simply about the music.

Kings Of Leon stated from the outset that their goal was to become one of the biggest bands on the planet. Not to write a classic album or influence people and help them expand their miands. Nope, to simply become one of the biggest bands on the planet. By that measure, can anything they ever do be construed as selling out?

What was Sonic Youths heinous crime?

As fans, I think we project our ideals onto our idols. We regard them as untouchable and unsulliable. But we do not know them. In the vast majority of cases, we do not know what they aspire to and what they believe in and support down to the minute details, so who are we to say when someone sells out, because really it's an accusation that is leveled at almost every punk/garage band who break out of the underground. Put yourself in their position a while. Imagine being offered the exact same job that you have now, except with quadruple wages and better conditions. You gonna turn it down?

Going back to Schmo's initial post, my initial thoughts of bands that have kept it successfully underground are Fugazi and The Dirtbombs. Don't know if they've been offered anything that they declined so as not to sell out. I know The Dirbombs survive because they tour like motherfuckers and charge about a grand a night to play (at least that's what they charged when I booked them for their last Manchester show anyway). I once read that Mick Collins still lives with his dad because having his own place makes absolutely no financial sense. 

I think with art, and more so with music, we equate independence with credibility. If that's the case, my mate Gaz is a more credible film-maker than say Christopher Nolan, who like totally sold out when he made a Batman franchise. What a doosh!

We want artists to struggle and fight to be heard. But if the only people who hear them are their neighbours, what's the point in the struggle?

To clear it all up, just check the Moby Equation.

D. A. Anguiano said:

Well I think we've officially heard from the "Take the money and run" camp. I was planning on typing out a few sentences on why I think its a dogshit idea for independent musicians to schill for a particular movie/corporation/tv show/book, but I'm tired. So this Steve Albini quote about Sonic Youth being idiots will have to do:

“[A] lot of the things they were involved with as part of the mainstream were distasteful to me. And a lot of the things that happened as a direct result of their association with the mainstream music industry gave credibility to some of the nonsense notions that hover around the star-making machinery. A lot of that stuff was offensive to me and I saw it as a sellout and a corruption of a perfectly valid, well-oiled music scene. Sonic Youth chose to abandon it in order to become a modestly successful mainstream band — as opposed to being a quite successful independent band that could have used their resources and influence to extend that end of the culture. They chose to join the mainstream culture and become a foot soldier for that culture’s encroachment into my neck of the woods by acting as scouts. I thought it was crass and I thought it reflected poorly on them. I still consider them friends and their music has its own integrity, but that kind of behavior — I can’t say that I think it’s not embarrassing for them. I think they should be embarrassed about it.”

Thought of a couple -   Blues Magoos - "Sometimes I Think About" (aka "Willie Jean".)

"Here I am , sitting on this goddamn farm." ,  "Here I am , sitting on this county farm.".

Buzzcocks - "Orgasm Addict" -  'Johnny won't fuck you ,always and all ways" ,

"Johnny want fuckee , always and all ways .''.

Nervebreakers - "Girls , Girls , Girls" - "I just can't fuck myself ....Leather , leather . OH ! OH !"    ,       " I JUST CAN'T STOP MYSELF , LET ME ! LET ME ! OH ! OH !".

13th Floor Elevators - "You Don't Know (How Young You Are.)  - "Her daily life revolves around a thousand Eddie Haskells."   ''....A thousand petty hassles.".

Rolling Stones section - "It's All Over Now" - "Playin' her high class games" , "Playin' her half - assed games" (Or is it the other way around?").

"2000 mAN" - "OH , DADDY , PROUD OF YOUR PHALLIC"    , " Oh , Daddy , proud of your planet.".

"When The Whip Comes Down" - "Schizo f*gs  been sittin on the can".   'Shit hits the fan , and I've been sittin' on the can".

'Jumpin' Jack Flash" -  "I was raised by a toothless bat in Hell." ,  "I was raised by a toothless bearded hag".     "I found as the crud slides across my breath." , "I frowned at the crumbs of a crust of bread."

"Street Fightin' Man " - "Yeah , til we name these gorgeous girls , once". , "....YEAH , SAID THE GAME IS CALLED DISTURBANCE".

"You Can't Always Get What You Want" - "To get your prescription beer"  ,   "To get your prescription filled".""

"Happy'' - " Never wanna be like Bob Dylan was , working for the boss , every night and day"....."whatever the fuck he said".

"Satisfaction" - "How white lined shirts compete , I can't get no..."    '' How white my shirts should be".

19TH Nervous Breakdown  - "When you were still in school , you had that boo , really messed your mind"     ,    '"...YOU MET THAT FOOL WHO REALLY MESSED YOUR MIND."

(NOTE : "BOO" IS AN ANCIENT EXPRESSION FOR MARIJUANA.).

"Think" - "Tell me what's wrong with my face ?" , "Tell me whose fault was that , babe?". 

   "Lennon , Harrison and Brian are beating the shit out of Allen Klein"

(Secret backmasking , "Doom and Gloom .").

Hey amoebaboy. I hear you & these things are always subjective but I think there are 4 reasons why this amp is worth it. The Vox is terrific, you can't go wrong. I look forward to hearing about it when you get it.

1. It sounds £100 better than the standard & there are loads of forums about people expensively 'upgrading' their amps, this doesn't need it.

2. All dealers cut you a deal that is a lot less than the listed, mine did.

3.The most important thing about buying a piece of gear is that you LOVE it & want to make music with it, even if it costs more. This amp is beautiful to look at I can't look at it without turning it on & playing! & perhaps stroking it a little too!  That's worth 100 smackers extra.

4. I will never have a problem re-selling this beauty should I choose to, it's a limited run & a very cool one. I will make back the extra if I need to.

Just the thing for my surf green squier jag i thought.... then i took a look at the price.

nice looking amp but i think im still going for a vox, you get a gre3at tremmelo and a spring rev. 

I don't know if anyone else has checked out this baby but I just picked it up & am over the moon with it. First off, it has looks to die for. Even the power light is surf green to match the case. The sound, WOW! The big deal is that it has a Celestion Greenback speaker instead of the regular Jensen which gives it a warmer middle & more 'retro' sound to my ear. More Blonde than Blackface.

Anyway I would highly recommend it for surf & garage clean & crunch sounds though you would need to mic it with a loud drummer or venue bigger than a pub.

Now I need some serious fashion tips for a new wardrobe to match & honour the amp. Anyone?

Show #395: "Stormy Songs" playlist:

Man - "a) Prelude, b) The Storm"
We The People - "There's Gonna Be A Storm"
The Spaniels - "Stormy Weather"
The Kinks - "Stormy Sky"
Fraction - "Eye Of The Hurricane"
The Doors - "Riders On The Storm"
Bob Dylan - "Shelter From The Storm"
John & Beverley Martyn - "Stormbringer"
Them - "Stormy Monday"
Jimi Hendrix - "In From The Storm"
Fat Mattress - "The Storm"
Downliners Sect - "Bad Storm Coming"
SRC - "Eye Of The Storm"
The Red Crayola - "Hurricane Fighter Plane"
Henry Cow - "Bittern Storm Over Ulm"
Phantom - "Calm Before The Storm"
Lyn Taitt & The Boys - "Storm Warning"
Classics IV - "Stormy"
The Fortunes - "Storm In A Teacup"
Neil Young - "Like A Hurricane"
Earth And Fire - "Storm And Thunder"
The Left Banke - "There's Gonna Be A Storm"
The Way We Live - "Storm"
The Standells - "There's A Storm Coming"
Rainbow - "Everything's Cool/After The Storm"
Bob Dylan - "Hurricane"
The Tremblers - "Windstorm"
The Jesters Of Newport - "Stormy"
Johnny & The Hurricanes - "Storm Warning"
Twentieth Century Zoo - "Quiet Before The Storm"
The Iveys - "Storm In A Teacup"
The White Noise - "The Black Mass: An Electric Storm In Hell"

Click here to stream this show now: http://eggmanrulez.com/m3u/395.m3u
or to download: http://eggmanrulez.com/streams/395.mp3

***To stream The Metaphysical Circus live via the web click this link: http://portsmouthcommunityradio.org/listen ... to listen to past shows, view playlists and more, fan the show on facebook: http://www.facebook.com/pages/The-Metap ... 50?sk=wall … or check out my website (to be updated someday): http://eggmanrulez.com/
Live every Friday night at 10pm to 1am EST on WSCA-LP 106.1 FM, Portsmouth Community Radio!

Egg

Playlist 11/03/2012

yes! i need Ass Cobra on vinyl!

I met, got drunk with & talked guitars with Darren the guitar player from the Inca Babies on holiday last year. Great guy, great company.

That's pretty funny , about "Vegetable Man". My take on it , and what I've read , was that Syd Barrett wrote about people who live , and die , for fashion.

"Hey , man. Socks are'nt vegetables. They should All Be wiped out !"

Neil , "The Young Ones".
 
Chris Henniker said:

I love The Saints, especially Know Your Product and I'm Stranded. I love JAMC's version of Vegetable Man, which makes me think of either a flasher or a superhero (could he be both?).

Dead Boy said:

Do you mean you haven't heard their early singles?  I don't have the CD's + DVD box set, but if memory is right, I think they didn't have any great tunes on B-sides except both cover versions of Syd Barrett's "Vegetable man" and the Subway Sect's "Ambition".

And I think early JAMC weren't a great live band.  Actually I have a bootleg of their ealy live, I have played it few times, haha.  But you may found some good tunes, so I donno.

BTW, have you heard the Saints?  I can recommend their CD box set "All Times Through Paradise"!

Jim Reid is a big fan of the Saints!

Also, early Subway Sect's tunes are great, too!  If you didn't know.

If anyone cares , a reformed JAMC just played in Chicago , and they actually sounded pretty good. Walls of Orange amps , saturated in fuzz. Virtually none of the painful feedback sound of yore , if that put any of you off , and no echo on Reid's mike (Which he desperately needed.) , and NUTHIN' from their pre - second LP repertoirre , unless they did maybe one track from "Psychocandy" that I've long since forgotten. I traded that album in a long time ago , but , I'd buy it cheap , now. I did find the "Never Understand" b/w "Suck" and "Ambition" 12" affordably , recently.
 
John Battles said:

That's the problem , The JAMC's early , pre - LP single sides , particularly "Vegetable Man" and "Ambition" , are really hard to find. I lost interest after their first LP , so I would'nt buy a box set for 8 songs , personally. They earned a terrible reputation after a short tour of the states in about 1986....I saw them in '87 , and they SOUNDED LIKE THEY SHOULD HAVE , EXCEPT THEY DID'NT EVEN HAVE A DRUMMER ! GIMME A BREAK.  Jim Reid was collapsing to the floor , then recomposing himself at least every 30 seconds. You could have set your watch by it ! I heard , later , that the band demanded a case of Russian Vodka that's so rare , you probably could'nt find it in Russia , except on The Black Market. Someone found it, tho' , and the pre -show getting pissed commenced. I STILL ENJOYED THE SHOW , DESPITE THE ANNOYING DRUM MACHINE . i'VE GOT A TAPE WITH A FEW SONGS FROM AN EARLY UK TOUR , THEY DO SOUND PRETTY FUCKED UP , MAYBE NOT IF YOU DID'NT HOLD IT UP AGAINST THEIR RECORDS , THOUGH.    I did'nt think they'd get anywhere , here , and that's a compliment. Something that abrasive should'nt have gotten over in the states , not with The Cure and The Smiths to save us.

The mono vs. stereo argument is something that I guess a lot of DJs mull over , when , in fact , a lot of 60's singles were mixed real hot , whether they were one or the other , tho' a lot of early , panned stereo sounds terrible. It really just depends , and most club's sound systems are incapable of keeping everything on an even keel , anyway , whether it's LPs , 45s , or CDs.

I've found that most records dating up to the mid 60's (The majors gave up on mono in '67 , if I'm not mistaken.) sound better in mono , but , maybe only because they sound different to the versions I knew better....Fuller if not necessarily louder. DJ singles  WERE PRESSED WITH MONO AND STEREO VERSIONS of the  same song well into the 70's , but , sometimes , one version did'nt sound that much different than the other. I think a lot of people are too hardcore about mono .  As you said , it often depends onthe track. The bottom line is , do YOU enjoy a particular record in mono or in stereo , and would you want other people to hear it ?

  If it says "Starday" on the label , buy it.