I think anything by the Church Keys would fit in somewhere.... Maybe the song Church Key Stomp.

I'm looking for party music for a comp for NYE next week.  Specifically, stuff that sounds like a "live in the studio" party with about a dozen people chattering, laughing, clapping their hands, woo woo yeah, clinky clinky, drinky drinky, maybe singing along.  I want to start off the set low key then rev up to breaking glass, marching boots, and police sirens and an all out riot at the end of the set.  Here is some of what I have so far:

 
   The In Crowd - Ramsey Lewis

   Ramrod - Duane Eddy

   Farmer John - Premiers

   Uncle Bert - The Creation
 
   Concrete Jungle - The Specials
 
   Squad Car - Eddie and the Showmen

   White Riot - Clash

   Intro->Milk Me(Chatterbox) - Johnny Thunders (live at Max's)
 
Any ideas/input?

John Lee Hooker's "House Rent Boogie" pairs well with whiskey (I'm a Jameson man), sort of slowly warming you up & easing you into a soft buzz. I also like knocking back a few with The Pogues "Rake At The Gates Of Hell", Boiled In Lead "My Son John" & "Tom & Jerry/The Nine Points Of Roguery" & Dropkick Murphys version of "Rocky Road To Dublin"

First heard this by Sapphire The Uppity Blues Women. Good stuff.

dave said:

Look, what I just found,

'Sloppy Drunk Blues' BUMBLE BEE SLIM (1935) Sloppy!

This song is a mainstay on one of the community radio programs in St. Louis. The show is Bob's Scratchy Records & can be enjoyed on the interweb at kdhx.org.

Look, what I just found,

'Sloppy Drunk Blues' BUMBLE BEE SLIM (1935) Sloppy!

The only good disco crap is DEAD disco!!!!!!! You don't need sterile disco crap to take chix to bed/home:):):):).

John Battles said:

EVEN PEOPLE WHO ARE'NT SO YOUNG CAN ONLY DANCE TO A DRUM MACHINE......

My take on it , Disco was introduced to the US , from Western Europe , when demand for live music was at an all time low. Of course , that , very slowly , changed with Punk. Regardless of what Spike Lee would have us believe ( Like New York Punkers in 1977 WITH GIANT GREEN GBH MOHAWKS !) , a lot of people went to Studio 54 AND Max's and CBGB's.

The idea was , that it was easier to pick someone up and take them home for some anonymous sex at a Disco , even if you DID hate the music , than at a Rock club.

Of course , the music only got worse with time , but , by and large , you did'nt have to hear much of it if you did'nt go to the Discos. Not unless you listened to whatever stations were playing the  innocuous garbage. But , the Rock stations that fought back were'nt playing MUCH better music , in hindsight. Disco just made people complacent , most people must have known it was a fad. Still , things have'nt changed THAT much. IF I GO OUT FOR THE DAY , AND I ONLY HAVE THREE HIP HOP SONGS PLAYED AT ME , AT FULL VOLUME , it has'nt been a bad day. I'VE BEEN TOLD I WAS "CLOSED MINDED" FOR NOT EMBRACING RAP AND HIP HOP , BUT I'D RATHER HEAR INSTRUMENTS PLAYED BADLY , AND SONGS SUNG POORLY , THAN SOMEONE WHO LETS MACHINES DO EVERYTHING FOR THEM. I WON'T DENY OTHER PEOPLE THEIR RIGHT TO LISTEN TO IT , BUT , WHY DO I HAVE TO? DANCE MUSIC , HOUSE MUSIC , INDUSTRIAL DANCE MUSIC , HIP HOP , RAP , is there THAT big a difference between that and Disco? I know musicians who lug their guitars and drums and amps to their gigs , often for no pay , are not as "Revolutionary" as some DJ with an orange parlor tan , chains , and a fresh fingernail polish who gets $500 and $100 IN TIPS , AT LEAST , but , if you love it , stick with it , because sometime that's all there is that's left , is the love of it.
 
sleazy said:

I have heard many young people thnk the only danceable music is crappy "disco music" (crappy, esp the late 70s disco duck, YMCA-oriented wimpy stuff........as if dancing started oin the late 70s and early 80s, hahahahhahahahahhahahah...what creeps:):)!!!! What does the word "disco music" even mean??! Beats me :):)!!!! Young people have been dancing since the dawn of ages....."discos" or discoteques were created in the late 50s and the chix and teens really went wild unlike the plastic, sterile dancing to the Lady Gagas of today :):):)!!!

GOOO..GOOOOOOOOOOOOOOO...GGGOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO GO GO CHIX ;););)

Kick ass band in my rock book :)

Alison said:

Bitch Slap Attack!  Great!

Show #354: "Bands & Artists Starting With D, Part 9"

Every 3 weeks I do a series of shows I call the "Alphabetical Series" where I randomly draw a letter of the alphabet from a hat. Whatever letter I draw, I take all the bands and artists in my collection (from the 50's, 60's & 70's only) that start with that letter and play them in strict alphabetical order one by one until I run out of time. This week I drew the letter "D". This is the ninth time I've drawn the letter "D", so I will start from where I left off on show #8 (which was with The Drivers). So, tune in tonight (Friday at 10:00pm EST) to hear 3 hours of bands and artists that start with "D" like: The Driving Stupid, 2 different Drones, Drugi Nacin, Druid Chase, 3 different Druids, The Druids Of Stonehenge, Don Drummond, 2 bands called Dry Ice, Dryewater, The Dubliners, The Dubs, Ducks Deluxe, Duffy, Los Dug Dug's, 3 different Dukes, Dulces Anos, Lesley Duncan, Dunn & McCashen, Monte Dunn & Karen Cruz, Pete Dunton, and many others!!

***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!

Watch my playlist unravel before your eyes LIVE here: http://wscafm.radioactivity.fm/

Egg

Blacktop- I've got a Baaad Feeling About This.

.....their album:)

LEZ ZEPPELIN ....all-girl Led Zeppelin trib band....

I lost my entire record collection & am starting a new one from scratch.  Is there a good one stop shop kind of a place (other than Norton) that anybody can recommend?  

Mongrel Zine!

http://www.mongrelzine.ca/

The Scion Garage Zine is also pretty cool. I couldn't really find one link for the zine as a whole, but here's the link to the first issue (I think there've been three so far):

http://issuu.com/scion/docs/garage_zine_vol-01

You can download 'em and print them out (PDFs).

Ty Segall, Thee Oh Sees, Kelley Stoltz, The Sandwitches, and that entire san francisco scene in my opinion. They record everything on old Tascam tape machines. Thats how to do it in my opinion

Should have mentioned black lips, Jay Reatard & king Khan too. 

Greg Cartright
Nobunny
Mark Sultan

Damn, first reply was my pick. 

BLACKCAT69 said:

Greg Cartwright gets my vote.

My picks:

Jack Oblivian - Rat City (Big Legal Mess)

Black Lips - Arabia Mountain (Vice)

Redondo Beat - Meet Redondo Beat (Dionysus)

Singing Loins - Stuff (Damaged Goods)

The Excitements - S/T (Penniman)

The Damned - early '77 at a local college here in the UK.  Rat Scabies told my friend, John to fuck off - it's been a badge of honour ever since.

Right.

Jeff Shore said:

. Rock and Roll isn't just music - it's a state of being.

You're just a kid. Matthew. I'm 58, and I thought I was the oldest one here until I saw Old Man Shore's post.

I might have shared this story here before, but last summer while in Austin, I took my son to Emo's to see Stiff Little Fingers. ABout halfway through the first song, the youngsters started their slam dancing. I got hit in the back and knocked around and realized my fucking dentures had been knocked loose. I retreated to the back. I don't think I could have stood the irony of losing my false teeth at a punk rock show.

In case you missed it, here's a good podcast for us oldsters:

http://garagepunk.ning.com/profiles/blogs/big-enchilada-34-grandpappys

I'm 60 and despite the fact that some days my back aches and my knees hurt, I am NEVER going to be too old to Rock and Roll. I love all those bands you mentioned above plus hundreds more. Rock and Roll isn't just music - it's a state of being.

A version of this was published in The Santa Fe New Mexican 
Dec. 23, 2011

I love Kinky Friedman, but something he said at his Santa Fe Sol Stage & Grill concert a couple of weeks ago irritated me. (Hey, if the Kinkster doesn’t irritate everyone in the audience at least a little, he’s not doing his job.)

Kid Congo & Pink Monkey Birds at Knitting Factory Brooklyn, NY, 2010

He basically said that the only musical acts worth seeing these days are “geezers” like Bob Dylan, Willie Nelson, Billy Joe Shaver, Iggy Pop, and Levon Helm (and, I suppose, by extension, Kinky Friedman.) He said something similar in his recent interview with my distinguished colleague Rob DeWalt.

I’m willing to cut Kinky some slack. After all, he’s 67 years old, and I’m just a kid of 58. But, jeez, when he talks like that, he sounds like the crotchety old goats of my youth. He should be tied up and forced to listen to nothing but Allan Sherman’s “Pop Hates the Beatles” for 72 straight hours.

The truth is, our modern world is full of great musical artists. I try to spotlight them nearly every week in this column. It’s fair to say that few, if any, of them will get the mainstream recognition of Dylan and the others. But to those with ears to hear, the underground is spilling over with crazy talent making timeless sounds.

This little rant got going in my head the other day when I was driving to work listening to Gorilla Rose, the latest album by Kid Congo & The Pink Monkey Birds. Brian Tristan, aka Kid Congo Powers, plays some of the most interesting sounds being produced today. It’s a wild mix of mutated ’60s Chicano rock, surf, garage, and spooky, noirish R & B.

This album (which is named for an L.A. performance-art character Powers met as a lonesome teenage punk) is a worthy follow-up to his previous work, Dracula Boots, which took similar paths into bizarre dimensions. It’s full of cool-groove instrumentals and weird tales that Powers recites.

I don’t think I’ve ever read any article or review of Kid Congo that didn’t mention his impressive résumé. And I won’t break precedent here. He was the original lead guitarist in the pioneering punk-blues band The Gun Club. And he also served time in The Cramps and Nick Cave’s Bad Seeds. This, friends and neighbors, is what you call credentials. When I saw him and the PMBs play in New York last year, they did some great Cramps covers (”Goo Goo Muck” and “I’m Cramped”) and an even better cover of Gun Club’s “Sex Beat.”

Gorilla Rose starts off with a jamming little instrumental called “Bo Bo Boogaloo.” It sounds as if it came out of some archetypal mod à go-go teen dance club in a 1960s spy thriller. There’s a snaky, sinister organ that reminds me of early ’70s Nigerian music and some serious distorted guitar. The next song, “Goldin Browne,” is driven by a throbbing funky bass lead, while Powers recites “Dark colors, black leather/Stray pets, bad habits/Medicine cabinets, Chairman Mao/Aladdin Sane, Goldin Browne.” And then he repeats it.

The words to the slow, slinky “Catsuit Fruit” are even more mysterious — basically, he lists a bunch of fruits. “Cherries, bananas, lemon, grape, peach, lime ...”

Then there’s “Our Other World,” in which Powers tells a story about being a kid working in a Hollywood record store. He recalls seeing Rick James losing his temper and breaking copies of Parliament’s Gloryhallastoopid as a drag-queen shoplifter ODs in the jazz section.

In “Bunker Mentality,” Powers and The Monkey Birds do a pretty good impersonation of The Fall. Powers even sounds like Mark E. Smith. And, truth be told, I can’t understand a word he’s saying; though I don’t care, because I like the music — jungle drums and repeated cranked-up guitar riffs.

Meanwhile, “Hills of Pills,” with its falsetto vocals backing Powers’ spoken word, reminds me of The Black Lips. The music is dominated by a basic blues-riff slide guitar (hinting at Mickey & Sylvia’s “Love Is Strange”). And this tune should win the prize for Best Use of Kazoo in a Non-Jug-Band Setting.

“Lullaby in Paradise” starts out like some lost Lou Reed song, perhaps the ugly cousin of “Perfect Day.” It’s a slow tune lead by a wistful, almost jazzy electric guitar (with some weird grating distortion in the background). Then the tempo picks up as the guitar attacks a basic soul riff before slowing down again.

Kid Congo is full of surprises. He’ll take a simple neo-punk song like “At the Ruin of Others” and go into different dimensions with a crazy discordant guitar solo that would make Sonic Youth blush. And a little later, just for a few moments, there’s a pseudo East-Indian or Arabic guitar part that sounds like the early days of psychedelia. But then it fades, never to return — leaving a listener to wonder, “Did I imagine that?”

That’s basically how I feel about much of this crazy good album.

Also recommended:

*  El Camino by The Black Keys. Now here’s a decent 21st-century band that might actually have a decent chance of achieving a level of popularity and (gulp!) fame.

Granted, I liked them better in their early days — not that long ago — when they were just a couple of nerdy blues geeks from Ohio who would give up everything just to touch the hem of the garment of T-Model Ford.

These days singer/guitarist Dan Auerbach and drummer Patrick Carney sound like they’re searching for the ghost of Mark Bolin. This album, produced by Danger Mouse, has a glam-rock sheen. When I saw them live nearly a decade ago, they reminded me of the old proto-metal monsters Blue Cheer. Listening to the new album, I wonder how that could have been so.

The Keys are a lot slicker now than their days of bashing out their high-volume blues as a two-man band, but don’t get me wrong. They’re still rocking. “Lonely Boy,” with its fuzzy, rubbery guitar hook, is nothing short of a gas. And “Gold on the Ceiling” has a healthy blues crunch, even though the main riff is played by some sort of keyboard instead of a guitar, while the minor-key “Mind Eraser” is downright soulful.

So don’t begrudge them their success or their efforts to evolve. I just hope that, as they progress, The Black Keys don’t forget why we liked them in the first place.


Blog Bonus: Here's a song from the Kid Congo Powers show I saw in New York last year. (I didn't shoot this, but I'm pretty sure I was standing right next to the person who did.)

That guy could squeal up a storm, the Treniers were amazing