ONE OF MY FAVORITE VERSIONS OF "GHOST RIDERS IN THE SKY" WAS BY RONNIE PROPHET , ECHOPLEX OVERKILL.....A MEXICAN BAND , I THINK , LOS BABYS, DID A SIMILAR VERSION. MUY PSICODELICO.

I made one...it was a fun little project. Fine for home use...not even close to being practical on stage. 

I do build a pretty sweet tremolo myself though.... check it ;)

http://elreyfx.com/html/chicago.html

very cool. I think if you put a clear enclosure over the disc and made the switch into a footswitch youd make this a lot more practical.

I thought some of ya might find this interesting. It's a primitive tremelo using interchangable discs. Certainly no hearty enough for gigging, but could be fun in the studio.

The Duchess

The Slits, Au Pairs

The Troggs are considered , by many , to be the only true Garage Punk band Britain produced in The 60's. I had the pleasure of telling them,  once , that there are many of us who would like to adopt them as an American band. Of course , they were thrown back "WOT?! What's this, then?!". Sadly that'll never happen , and it does'nt look like Reg will ever menace the stage again. I HOPE I'm wrong , but , there's been no further info that I could find , since his diagnosis of Lung Cancer about a year ago.
 
swt said:

I'm friends with Gregg Turner, former Angry Samoan. He told me years ago that The Troggs was one of his first big influences. I've heard him do a real nice "Love is All Around."

Rosa said:

recently a young employee of the hip local record store asked me to get him up to speed with 60s garage (he's a local big honcho in the grindcore scene) - i have to say i was pretty taken aback - what a nice compliment! well since he has all the records he wants at his disposal, i told him to start with this: the troggs.

now he's got the fever and we email back and forth on a daily basis. just today he sent an frantic note, incredulous that i hadn't told him about "99th floor" by the moving sidewalks (we are in zz top country, afterall). of course i apologized profusely! ha!

....As performed by Lithium Xmas ...."Where are the children? The bible records have arrived !"

Seriously , tho, Nilsson's "Son of Dracula " has a great scene in a pub (Of course) with Harry singing "Jump Into The Fire" with Keith Moon , John Bonham , Peter Framptom (Before he came alive.)and probably some others.
 
sleazy said:

hARRY nILSSON'S jUMP iNTO tHE fIRE

HMMMM.....How did he know that I am The Gentleman?   Just because I put the toilet seat down when I'm at a lady's house?.....and then I piss all over it ?
 
Cascarita said:

Kopper--no really, Thank YOU.

Gentleman John Battles--Howdy!, and thanks.

Thanks everybody--I appreciate it more than you know.

 

Wow ... that's just wrong.

As Tony Orlando (and the Devil Dogs) would say, "Bless You."

Fuck the Phony Dogs

Kopper--no really, Thank YOU.

Gentleman John Battles--Howdy!, and thanks.

Thanks everybody--I appreciate it more than you know.

Thanks Larry!

Scary Larry said:

done!

Sounds cool. And on the topic of the Velvet Underground, I just saw that Sundazed Music is releasing a 5-LP box set that looks pretty sweet:

Sundazed October 2012 New Releases
Street Date October 30, 2012 
--------------------------------
THE VELVET UNDERGROUND 5-LP DELUXE BOX SET

Artist: THE VELVET UNDERGROUND
Title: The Verve / MGM Albums
VU 4003 - 090771400314 -  5-LP DELUXE BOX SET

THIS IS A BOX OF ESSENTIAL ROCK & ROLL HISTORY.

At a time when the Rolling Stones were forbidden from singing about spending the night together on national television, the Velvet Underground was crafting songs about such taboo subjects as illegal drugs, sadomasochism and black angels of death. And that was just on their debut. Throughout their first three albums, VU continued to challenge societal norms through their lyrics and rock music itself through their unorthodox instrumental approach. Their sound was theirs alone, which proved to be an obstacle when it came to sales. The majority of popular music fans simply weren’t ready for the bleakly beautiful vision of VU. But for those who were, this LP trilogy was a clarion call, drawing together the outsiders who felt disenfranchised and unfulfilled by Top Forty fodder. Like time release capsules, these LPs became catalysts for change as they spread from city to city and were consumed by adventurous listeners. Bands formed, scenes coalesced and new musical paths emerged which would eventually branch off into punk, alternative, indie and more. Take a sample from any underground music genre and you’re likely to find VU DNA pulsing through its core.

As the alternative scene grew, so did the legend of the Velvet Underground. However, with relatively few of the original LPs in circulation, finding them could be difficult and, as a result, more people had probably heard OF the band than had actually heard their music. The emergence of compact discs in the mid-80s, along with a groundswell of VU-influenced bands singing their praises, finally got their music into wider distribution. Yet, for vinyl enthusiasts who longed to place those precious albums on their turntables, that thrill remained elusive.

Until now. With tremendous pride, Sundazed presents The Velvet Underground: The Verve/MGM Albums. This beautiful, deluxe boxed set gathers the rare mono versions of the band’s first three studio albums along with the superior mono version of Nico’s Chelsea Girl and a definitive edition of the band’s unfinished fourth album! Sourced from the original Verve/MGM analog reels and mastered by Bob Irwin, this collection is an essential purchase for the discerning vinyl devotee. For all tomorrow’s parties, this is your soundtrack.

- The ultimate collection of underground rock’s big bang!
- Includes the rare mono versions of the VU’s first three albums, the superior mono version of Nico’s Chelsea Girl (featuring Reed, Cale & - Morrison) and a definitive edition of the band’s unfinished fourth album!
- Housed in a beautiful deluxe box with all original LP artwork along with two bonus poster inserts!
- Introduction by Rolling Stone senior editor/MOJO contributor David Fricke.
- Sourced from the original Verve/MGM analog reels and mastered by Bob Irwin.

This news has absolutely made my day.  Out November 6, vinyl only.  Check out the link for the track listing.  http://pitchfork.com/news/47922-ty-segall-thee-oh-sees-fresh-onlys-white-fence-on-velvet-underground-nico-tribute-lp/

Bbq has a tambourine stuck with the beater of the kick drum. Each time he kicks the bass drum, the tambourine rings.

Coming Sept 20th at 2 pm GMT

Episode 30 – Josh Latta’s Rashy Rabbit

Skin You Alive – Midnight Woolf
For Cryin’ Out Loud – Bunny Sigler
Fine As Wine – Willie Kendrick
Baby Baby (LP Version) – Frankie Lymon & The Teenagers
Buzzsaw Twist – the gee cees
Buzz Buzz Buzz – Jonathan Richman And The Modern Lovers
Der Fuehrer’s Face – Spike Jones & His City Slickers
Shake Shake Shake (Bonus Track) – White Denim
Here It Comes – Brian Jonestown Massacre
This Charming Man – The Smiths
This Thing Called Love – Esquerita
I’ve Been Loving You –  Cindy Scott
How Deep Is The Ocean – Lonnie Johnson
Hush-Hush – Jimmy Reed
Bottom Of The Sea –  Billy Childish & Dan Melchior
The Mollusk – Ween
Devil Behind That Bush – The Cramps
Jump in the Line – Harry Belefonte
Beyond The Sea – Bobby Darin
It’s Him! – White Denim

Offically no ,Madd didn't but Casey an I reworked a song of long lost love that I penned as Falling Waters...no copyright of course.It became the first few stanzas of "Go Back" ...We sat at the Mill bar in Iowa City a short time before Casey Fautz's demise and hummed and laughed about my lame lyrics.Without Crabby Appleton this short tune would have fallen into obscurity.

CRAIG MOORE said:

MADD didn't make a record, to the best of my knowledge they never wrote a song, but they were the ultimate garage cover band. SO good, they knocked us out totally. We were still beginner's in the Pagans. I don't think we had met Rex & Brent yet when we first saw MADD, and I had only been playing bass for a couple of months. Barry the bass player looked like McCartney & played a Gibson EB-1 violin shaped bass left handed. He was amazing as were all of them. I asked him how long it was going to take me to get a handle on bass and he told me "oh about 6 months and you'll start to get it, start to 'hear' things." We were practing & learning songs and listening to records 24/7 of course, and I literally watched the calendar and at that 6 month mark 'viola!' I started hearing octaves and such on the records, started to decipher the 1 from a harmonic note, etc. Still had a LONG way to go but that remark was magic. MADD did "Rain" letter perfect when it was NEW, at a time when most bands could only listen in awe to the record. The organist was Casey Foutz who eventually left Ottumwa with Phil Jones (Enoch Smoky) and were founding members in LA of Crabby Appleton, "Go Back" etc. MADD evolved into THE UPSTAIRS PLAYGROUND in 1968 and got very very psychedelic, California acid drenched, guitarist Mike Sexton was beyond fabulous as a guitarist & vocalist, last time I saw him was 1968 or 1969 and he looked exactly like a taller version of Dickie Peterson (Blue Cheer). He's either a highly paid session musician with a huge ranch in Montana, a rocket scientist, born again, or dead. I have no idea. David Bernstein the drummer was one of the greatest unknown shit kickers you could imagine. We did LSD together once, I think David got a little wierded out by that scene. I heard some vague rumblings about him in the early 70's but never knew where he ended up. I hope he's fine and I hope he never lost his love of music, he was great. But MADD's bass player had a huge impact on me personally, and the band was idolized thoroughly by The Pagans and GONN, and in fact they inspired both the spelling of our name AND the fact that we adamantly enforced the "no 'THE'" rule, as did MADD. The fact that we had our own hearse was as close as we could get to being as cool as MADD, in our minds. Until we made a record, anyway.  I saw this hearse ad about 6 months or so ago and sent it out to Phil Jones just as a reminder of the good old days back here in the midwest.  I saw Casey back in Ottumwa about 1983 when my band Ready Steady Go was playing a club there. He had been playing with Pacific Gas & Electric in LA and had a heart attack, moved back to the home town to recuperate and get his head together. It was great to see him, he always reminded me of Gene Clark, but he seemed pretty down and not very happy. I was pleased that he remembered me and the band and all the times we hung out with them. Not too long after that I heard he had another heart attack and died. Very sad. So all you fans of records by GONN, you need to say a 'hail Mary' for Casey and never forget there was a band called MADD that maybe didn't make a record but their impact is with you still, every time you hear GONN or hear another story of the Iowa scene 1965-1968. There were the ultimate Iowa garage band. 

John Perry from this band was interviewed on the "Marrs Bonfire's Smart Set" radio show last Friday (14th Sep) I THINK it will be available on the BayFM website "listen again" page for a while.....(scroll down to the Smart Set section of the page)

http://www.bayfm.co.uk/index.php?option=com_content&view=article&id=125&Itemid=237

It was a pretty good interview...

Experience has proved there isn’t a dead set rule when it comes billing order.  The attendance usually varies depending on the situation. 

The way I like to work out of town gigs is:

If I have been invited by a band/promoter to play on a bill I will request a supporting slot when planning the gig to avoid any uncomfortable or surprising situations.  Gas isn’t getting any cheaper and, in my case, Canadian cities are generally 3-6 hours apart at best.  So, if I am unfamiliar with the history of the promoter/bands involved, I like to research the likelihood the event will reach a satisfactory attendance (subjective of course).  If the other bands on the bill are generally unknown, I usually reference the number of people that clicked ‘going’ on their previous Facebook invites.  No guarantees, but it’s a useful reference.  It’s also good to check if they’ve received any internet media attention.

I only really agree to close out of town shows if there is a bit of hype behind my band coming to play, or the event is reputable, or the promoter is offering a guarantee. If you don’t know the promoter or someone that has previously worked with him/her, get the fee in advance.

Basically, there is nothing more to be had by playing a poorly attended out of town gig as there is an empty room on your home turf.

I didn't think that was harsh and you make some good points. Your post did change my mind a little in the sense that I shouldn't have any expectations and just control the one thing we can control which is making sure we're ready for the show. I also love your point about making a band sorry they put you on first by out-playing them. I always feel a sense of friendly competition at shows to help get myself motivated to play the best I can so I should just extend that to the times where we get the crappy spot in the lineup and use it as motivation rather than let it bother me so thanks for that!

its kind of a slippery slope on this topic. i've been in both situations. and while it’s nice as a touring band to have a prime spot, if my band has never played the town or club and it’s a smaller market city chances are I am just happy to have a show booked. As a smaller /less known group in whatever area you playing you can’t expect to have a good spot on the line up, so the rule your talking about is more of courtesy, then a rule. Whenever I go out of town to play shows, I’m always just happy to play and never worry about anything other than playing a good show.

Personally I would rather play first and be hard to follow by the rest of the acts then sit through the whole show waiting my turn.  Most of the time first band loads right on to the stage and as an out of town band touring sometimes it nice to have the opportunity to fully set up gear right and not be rushed by the later time slots.  Also comes down to just getting paid. If that’s taken care of that’s really all that should matter for the out of town band.

On the flip side, my band plays with a lot touring bands (we are in a big market city: SF, so everybody comes here) so depending on the booker/venue or what not we always try make it a good show and everyone always gets paid.  My big issue about “touring band/prime spot rule” is that; when we play local in our home town we bust ass to make it a good show, promotion fliering, getting people to show up what not. So in a few instances it kind of rubs me the wrong way when a less known touring band gets a primo spot and my band gets stuck either playing to early or really late especially on week night. Just because you drove 500 miles shouldn’t earn you any special privileges. I think bands should get in the mindset of it’s more about putting a good show for the people that show up to support local music, not the bands ego’s because they think they deserve it because they drove 6 hours to play a show.  Maybe your band is a better in the opening slot then later on in the night? Or visa-versa? Work that shit out with the booker and make the best show possible for the people that come out.

Not meaning to sound harsh on any of this. just my two cents. 

I was just curious about how other bands felt outside of my area. I recently finished up a mini-tour and I felt like on some nights the local band on the bill was trying to position themselves in the best spot but I didn't say anything since I wasn't sure if this was a known "rule".

Your example of a record release show is definitely an exception. That's your night to be the center of attention without a doubt.

What's your band called, Doc?

This beauty's coming in the mail fast...................