Yes Hi, Im here to sign up for man-groupie-gigolo duty. Have no fear ladies.

An all Canadian KBD LP, no shit! What bands are on there?

Dead Boy said:

I already don't remember well :D, and haven't heard many volumes, but X Blank X "You're Full Of Shit" on Vol. 9 is awesome! (better than the Electric Eels' version.)
http://www.kbdrecords.com/2008/06/10/x-xx-blank-x-st-7/
Vol. 9 also has Nothing-Uniformz, La Peste-Better Off Dead etc.
http://www.7inchpunk.com/?p=194
Vol. 5 has Nubs-Job.
http://www.kbdrecords.com/2006/09/03/nubs-job-7/
And Vol. 26 (Canada) was pretty good.
http://www.lipstickkillers.com/comphell/kbd26.html
So, I think Vol. 9 is worth getting!

5,7.5,8,9,10 are gooduns. I'd skip 6 though.

Yeah, thats a good one, people with eye patches are badass. I wonder if his girlfriend did that to him? Hey maybe youd be affected to if somebody stole your eye. I am a massageanist, I massage chicks only!

John Choples said:

How about The Depressions self-titled LP from 1978 on Barn records?  Once you get past the affected misogyny & punk cliches it's not a bad record at all (ditto for The Vibrators).

I went and seen simply saucer in Detroit. They sounded like flying saucers. I liked em. 

whatwave dave said:

The Victims Real WIld Child LP is an ABSOLUTE KILLER LP!!! Total seering guitar leads, testosterone chocked vocals and some great songs!! Don't know why those guys aren't highly regarded in the NYC punk scene.

Heard that they've re-united and are out playing again.

 

Have you heard Cyborg's Revisited by Simply Saucer? It's 70's recordings that were never released...think Syd's Pink Floyd at their heaviest meet Velvet Underground with lots of bad drugs tossed about.

Duke Of Earl said:

That Death record was pretty impressive. Yeah rare stuff, V.G. You are on the right track.
-Victims-real wild child LP

How about The Depressions self-titled LP from 1978 on Barn records?  Once you get past the affected misogyny & punk cliches it's not a bad record at all (ditto for The Vibrators).

The Victims Real WIld Child LP is an ABSOLUTE KILLER LP!!! Total seering guitar leads, testosterone chocked vocals and some great songs!! Don't know why those guys aren't highly regarded in the NYC punk scene.

Heard that they've re-united and are out playing again.

 

Have you heard Cyborg's Revisited by Simply Saucer? It's 70's recordings that were never released...think Syd's Pink Floyd at their heaviest meet Velvet Underground with lots of bad drugs tossed about.

Duke Of Earl said:

That Death record was pretty impressive. Yeah rare stuff, V.G. You are on the right track.
-Victims-real wild child LP
 

Its impossible to pick one EP and not feel weird about it.

BonzoB said:

I can never pick one in these discussions, so you'll have to bear with me! The Stooges - Sick of You and Gun Club - Death Party. The EP format was great for socially aware punk bands like The Clash and SLF both of whom released more than one EP at the normal price for a 45 single with one track either side. My two favourites offer a long song on one side with two shorter ones on the other.

I can never pick one in these discussions, so you'll have to bear with me! The Stooges - Sick of You and Gun Club - Death Party. The EP format was great for socially aware punk bands like The Clash and SLF both of whom released more than one EP at the normal price for a 45 single with one track either side. My two favourites offer a long song on one side with two shorter ones on the other.

That's definitely up there. Nice choice. Some other great ones - Misfits "Bullet" and "Beware". Black Flag "Nervous Breakdown". Mudhoney "Superfuzz Bigmuff". Dead Kennedy's "In God We Trust, Inc." and Sheer Terror "Old, New, Borrowed and Blue". And I'm sure I'm forgetting a bunch of other great ones.

True that!  He's like the Wilt Chamberlin of Garage Rock!

112 Albums and counting... frickin' amazing.

 

Greatest Hits (1979) The Pop Rivets
Empty Sounds from Anarchy Ranch (1979) The Pop Rivets
Talking 'Bout... Milkshakes (1981) The Milkshakes
14 Rhythm and Beat Greats (1982) The Milkshakes
After School Sessions (1983) The Milkshakes
The Milkshakes IV—The Men with Golden Guitars (1983) The Milkshakes
Sing and Play 20 Rock & Roll Hits of the 50's & 60's (1984) The Milkshakes
The Milkshakes in Germany (1984) The Milkshakes
Nothing Can Stop These Men (1984) The Milkshakes
Showcase (1984) The Milkshakes
They Came They Saw They Conquered (1984) Thee Milkshakes
Thee Knights of Trashe (1984) Thee Milkshakes
Thee Mighty Caesars (1985) Thee Mighty Caesars
Dangerous Charms (1985) The Del Monas
Beware the Ides of the March (1985) Thee Mighty Caesars
The Delmonas 5 (1986) The Del Monas
Thee Caesars of Trash (1986) Thee Mighty Caesars
Acropolis Now (1986) Thee Mighty Caesars
107 Tapes (1986) (Early demos/Live) The Milkshakes
Live in Rome (1986) Thee Mighty Caesars
Wiseblood (1987) The Mighty Caesars
The Milkshakes Revenge -The Legendary Missing 9th Album (1987) The Milkshakes
Fun in the U.K. (1987) (Compilation) The Pop Rivets
I've Got Everything Indeed (1987) Wild Billy Childish
Don't Give Any Dinner to Henry Chinaski (1987) Thee Mighty Caesars
Which Dead Donkey Daddy? (1987) Billy Childish & Sexton Ming
Punk Rock Showcase (1987) Thee Mighty Caesars
Laughing Gravy (1987) Wild Billy Childish & Big Russ Wilkins
Plump Prizes & Little Gems (1987) Billy Childish & Sexton Ming
The 1982 Cassettes (1988) Wild Billy Childish
Live in Chatham (1988) Thee Milkshakes
YPRES 1917 Overture (Verdun Ossuary) (1988) Billy Childish & Sexton Ming
"i remember..." (1988) Wild Billy Childish
Poems of Laughter and Violence (1988) Billy Childish
Brimful of Hate (1988) Jack Ketch & the Crowmen
Play: Capt'n Calypso's Hoodoo Party (1988) Wild Billy Childish & the Blackhands
Do the Uncle Willy (1988) The Delmonas
English Punk Rock Explosion (1988) (Compilation) Thee Mighty Caesars
The Delmonas (1989) The Delmonas
John Lennon's Corpse Revisited (1989) Thee Mighty Caesars
Headcoats Down! (1989) Thee Headcoats
Long Legged Baby (1989) Wild Billy Childish & the Natural Born Lovers
Surely They Were the Sons of God (1989) (Compilation) Thee Mighty Caesars
19th Nervous Shakedown (1990) (Compilation) The Milkshakes
The Kids Are Square—This Is Hip! (1990) Thee Headcoats
The Earls of Suavedom (1990) Thee Headcoats
Beach Bums Must Die (1990) Thee Headcoats
Live in Germany '79 (1990) The Pop Rivets
Heavens to Murgatroyd, Even! It’s Thee Headcoats! (Already) (1990) Thee Headcoats
50 Albums Great (1991) Wild Billy Childish
Girlsville (1991) Thee Headcoatees
W.O.A.H! Bo in Thee Garage (1991) Thee Headcoats
Headcoatitude (1991) Thee Headcoats
I Am the Billy Childish (1991) (Compilation) Various
The Sudden Fart of Laughter (1992) Billy Childish
Der Henkermann—Kitchen Recordings (1992) Billy Childish
The Original Chatham Jack (1992) Billy Childish & the Blackhands
Have Love Will Travel (1992) Thee Headcoatees
Caesars Remains (1992) (Compilation) Thee Mighty Caesars
The Wurst Is Yet to Come (1993) Thee Headcoats
The Good Times Are Killing Me (1993) Thee Headcoats
Cavern by the Sea (1993) Thee Headcoats
Torments Nest (1993) Billy Childish
Live in the Netherlands (1993) Wild Billy Childish & the Blackhands
Native American Sampler—A History 1983–1993 (1993) (Compilation) Various
At the Bridge (1993) Billy Childish featuring The Singing Loins
Hunger at the Moon (1993) Billy Childish
Caesars Pleasure (1994) (Compilation) Thee Mighty Caesars
Live at the Wild Western Room (1994) Thee Headcoats
Connundrum (1994) Thee Headcoats
Ballad of Insolent Pup (1994) Thee Headcoatees
The Sound of the Baskervilles (1995) Thee Headcoats featuring Thee Headcoatees
In Tweed We Trust (1996) Thee Headcoats
Deerstalking Men (1996) Thee Headcoats Sect
Knights of the Baskervilles (1996) Thee Headcoats
Made With a Passion—Kitchen Demos (1996) Billy Childish
Bostik Haze (1997) Thee Headcoatees
Chatham's Burning—Live '77 & '78 Demos (1997) The Pop Rivets
Punk Girls (1997) Thee Headcoatees
The Jimmy Reid Experience (1997) Thee Headcoats
Devil in the Flesh (1998) Billy Childish/Dan Melchior
The Messerschmitt Pilot's Severed Hand (1998) Thee Headcoats
Sherlock Holmes Meets the Punkenstein Monster (1998) (Japanese Compilation) Thee Headcoats
Brother Is Dead...but Fly Is Gone! (1998) Thee Headcoats
17% Hendrix Was Not the Only Musician (1998) Billy Childish & His Famous Headcoats
Taylor Meets Thee Headcoatees (1998) Thee Headcoatees
Crimes Against Music—Blues Recordings 1986-1999 (1999) (Compilation) Wild Billy Childish
The Cheeky Cheese (1999) Billy Childish & Sexton Ming
English Gentlemen of Rock'n'Roll/the Best Vol. 2 (1999) (Japanese Compilation) Thee Headcoats
Here Comes Cessation (1999) Thee Headcoatees
The Sisters of Suave (1999) (compilation) Thee Headcoatees
In Blood (1999) Billy Childish & Holly Golightly
Ready Sect Go! (2000) Thee Headcoats Sect
I Am the Object of Your Desire (2000) Thee Headcoats
Elementary Headcoats—Thee Singles 1990-1999 (2000) (compilation) Thee Headcoats
Live at the Dirty Water Club (2001) Thee Headcoats
This Is This (2001) The Buff Medways
Steady the Buffs (2002) Wild Billy Childish & The Buff Medways
25 Years of Being Childish (2002) (compilation) Various
Here Come the Fleece Geese (2002) Billy Childish & Sexton Ming
1914 (2003) Wild Billy Childish & The Buff Medways
Medway Wheelers (2005) Wild Billy Childish & The Buff Medways
Heaven's Journey (2005) Wild Billy Childish & The Chatham Singers
My First Billy Childish Album (2006) Various (compilation)
Punk Rock at the British Legion Hall (2007) Wild Billy Childish & The Musicians of the British Empire
The XFM Sessions (2007) Wild Billy Childish & The Buff Medways
Poems of a Backwater Visionary (2007) Billy Childish (spoken word)
Christmas 1979 (2007) Wild Billy Childish & the Musicians of the British Empire
Thatcher's Children (2008) Wild Billy Childish & the MBE's
Juju Claudius (2009) The Chatham Singers
Archive From 1959—The Billy Childish Story (2009) Three LP Compilation
Poets of England (2010) The Vermin Poets

It's the same here in the UK! The majority of music media here exists to push mainstream music. I suppose the situation is best explained by a tune called 'We Fuckin' Hate The NME' by Thee Headcoats (the NME being a very popular trend setting weekly music paper here in the UK).  I suppose there's been a moment for each of us where we've realised that we're just gonna have to search for the music we want to listen to.
joey fuckup said:

It's sad, I live in such a shitty radio market, I didn't even know who the hell the Clash was until "Combat Rock" came out!  No friggin' lie!!!  Of course I dug it, but then I had to dig deeper and buy such classics as "London Calling" and their self-titled debut release!
Gareth Brown said:

Hi - i'm new to The Hideout... very much enjoying all of your responses... For me it was listening to 'London Calling' by The Clash that first got me interested in all things punk/garage/r'n'r related!

Richard Berry isn't garage. Sure, he influence tons of garage over the years, but he was a soul/R&B artist and existed before the whole garage-band movement of the '60s. Plus, I dunno, man, lots of modern garage bands got soul, and I think you hear plenty of it if you know where to look. Take the Dirtbombs, the Greenhornes, the Reigning Sound, the Gentleman Callers, the BellRays, the Mystery Girls, the Oblivians, the Gories and the Creeps as examples. Too many songs by each of them with soul to pick faves, but I'll post links to a few below...

 

The Creeps - Down at the Nightclub

The Greenhornes - Nobody Loves You

The Come Ons - Mesmerizer

The BellRays - Blue Cirque

Oblivians - Feel All Right & Ride That Train

The Dirtbombs - Your Love Belongs Under a Rock

The Gentleman Callers - Don't, Don't, Don't

The Mystery Girls - Tossin' and Turnin'

I think great garage has got soul and this is where the bands of the 60's score over their modern counterparts.

What is your favourite garage tune with soul?

I've given this at least 10 seconds thought and the first band to spring to mind was The Music Machine but then I thought Richard Berry surely?

But is it only the garage covers of Louie Louie & Have Love Will Travel that makes me think of him as "soulful garage"?

Anyway, here's one for starters but what do you think?

http://www.amazon.co.uk/gp/product/B001F38KYE/ref=dm_dp_trk15

 

 

Movie Star Junkies are awesome!  I saw them a year or so ago in St Louis.  A great show.  I don't know the monsters.  I'll have to check them out.

 

I realize that my original posting made it sound like I was only asking about oldsters but I'd like to hear about newer bands that are hot live acts, too.

1. Flamin' Groovies

2. Flamin' Groovies

3. Flamin' Groovies....

 

Detect a pattern here? Last time they played in Canada was 1978 and i didn't go to see them as i wasn't a huge fan. Now that i'm older (but definitely not wiser) and a HUGE fan of The Groovies AND Roy and Cyril are out doing shows, i gotta see them!! A-Bones are the perfect back up bands as Mirian was the Prez of The Flamin' Groovies fanclub for many years.

I did get to see Magic Christian (Cyril's new combo) about 2 years ago and that just whet my appetite even more for a real Flamin' Groovies show!!

Personal and the Pizzas "Raw Pie"

Brutal Knights "Blown 2 Completion"

Wounded Lion s/t

Thee Oh Sees "Warm Slime"

Black Angels "Phosphene Dream"

JC Satan "Sick of Love"

Black Jaspers s/t

Tyvek "Nothing Fits"

Nolan Strong tribute lp

Eddie Current Suppression Ring "Rush to Relax"

Pierced Arrows "Descending Shadows"

 

As far as 7 inchers go, those two Lamps 7" from earlier this year are winners...

Seeing Im the one who started this discussion...let me say...I called it the first Punk era so not to be confused with 80's wave or 90's to recent punk (which is hardly punk at all).

The explosion of 'music' from that 76-80 period was staggering, and is still held high today, and I knew we all had our faves from that era. Of course there was punk roots before 76'.  So maybe just the '76-80 Punk explosion' would be more appropriate. lol

I appreciate all the interest in this topic all the same.

Cheers, Andy

Yeah Hideout, nice one for diggin up some of these cool quotes on punk origins to let lots o the good folks here know where it's a comin from...Dave, Greg and Lester etc all surely knew what was about to come too...

Hideout Admin said:

Ah, the history of punk, and specifically, of the word "punk," is always interesting. I need to get me a copy of Let it Blurt (Lester's biography), but in the meantime I'll just paste this here. You can read more at www.fastnbulbous.com/punk.htm

The word "punk" first made an appearance in music journalism in a 1970 essay, "The Punk Muse: The True Story of Protopathic Spiff Including the Lowdown on the Trouble-Making Five-Percent of America's Youth" by Nick Tosches in Fusion. He described a music that was a "visionary expiation, a cry into the abyss of one's own mordant bullshit," its "poetry is puked, not plotted." That same year, Lester Bangs wrote a novella titled Drug Punk, influenced by William Burroughs' book, Junky, in which there is a line, "Fucking punks think it's a joke. They won't think it's so funny when they're doing five twenty-nine on the island." Dave Marsh used the phrase "punk rock" in his Looney Tunes column in the May 1971 issue of Creem, the same issue that introduced the term "heavy metal" as a genre name. Marsh wrote, "Culturally perverse from birth, I decided that this insult would be better construted as a compliment, especially given the alternative to such punkist behavior, which I figured was acting like a dignified asshole." Tosches, Bangs, Marsh, Richard Meltzer, Greg Shaw and Lenny Kaye used the term to define a canon of proto-punk bands, including the Velvets, Stooges, MC5, the Modern Lovers and the New York Dolls (DeRogatis, Let It Blurt, 118-119).

TeenFink said:

dude i got my shit together. that era was first referred to as "punk" in 1972 (Lenny Kaye's liner notes in nuggets), which was four years before '76. i just don't think it's right to call '76-'80 "the first punk era," that's all. by doing so, you're displaying ignorance of real rock'n'roll in general and it's misleading to some who may come here and be totally unaware of '60s punk.

ratoonie said:

it wasnt cald Punk .........back then!!! get your shit together!!!!!

TeenFink said:

the FIRST punk era was from '65-'67, not '76-'80.

Ah, the history of punk, and specifically, of the word "punk," is always interesting. I need to get me a copy of Let it Blurt (Lester's biography), but in the meantime I'll just paste this here. You can read more at www.fastnbulbous.com/punk.htm

The word "punk" first made an appearance in music journalism in a 1970 essay, "The Punk Muse: The True Story of Protopathic Spiff Including the Lowdown on the Trouble-Making Five-Percent of America's Youth" by Nick Tosches in Fusion. He described a music that was a "visionary expiation, a cry into the abyss of one's own mordant bullshit," its "poetry is puked, not plotted." That same year, Lester Bangs wrote a novella titled Drug Punk, influenced by William Burroughs' book, Junky, in which there is a line, "Fucking punks think it's a joke. They won't think it's so funny when they're doing five twenty-nine on the island." Dave Marsh used the phrase "punk rock" in his Looney Tunes column in the May 1971 issue of Creem, the same issue that introduced the term "heavy metal" as a genre name. Marsh wrote, "Culturally perverse from birth, I decided that this insult would be better construted as a compliment, especially given the alternative to such punkist behavior, which I figured was acting like a dignified asshole." Tosches, Bangs, Marsh, Richard Meltzer, Greg Shaw and Lenny Kaye used the term to define a canon of proto-punk bands, including the Velvets, Stooges, MC5, the Modern Lovers and the New York Dolls (DeRogatis, Let It Blurt, 118-119).

TeenFink said:

dude i got my shit together. that era was first referred to as "punk" in 1972 (Lenny Kaye's liner notes in nuggets), which was four years before '76. i just don't think it's right to call '76-'80 "the first punk era," that's all. by doing so, you're displaying ignorance of real rock'n'roll in general and it's misleading to some who may come here and be totally unaware of '60s punk.

ratoonie said:

it wasnt cald Punk .........back then!!! get your shit together!!!!!

TeenFink said:

the FIRST punk era was from '65-'67, not '76-'80.

For now, I’m “helping” with the radio show.  I have no life to speak of really that would get in the way.  Maybe an occasional band outing and there’s talk of starting another local band but that’s about it.

I think the two options are very similar to a band doing a live show vs. a studio recording for an album release.  Live is more immediate and disposable.  Like a 3 minute rock and roll song that is meant to be entertaining and then gone.  Here today, gone tomorrow.  Live fast, love hard, die young, and leave a beautiful memory (to quote the great philosopher Faron Young).

As it is, the radio show is more spontaneous and organic with the two DJs playing off each other.  It has a tendency to take on a life of its own, which can be great or meh.

If I were to do a podcast (or to a somewhat lesser extent, a solo radio show), I’d want to make it better crafted, like a studio album.  That would take a lot of time and resources.  To be honest, there are so many great podcasts, I don’t know what I could do that would be in the same league.  I'll gladly assist with the show for the time being at least.

Yeah, this is a tough question. I hosted The Wayback Machine for over ten years on KDHX in St. Louis and LOVED it. But it was a LOT of work... I put a ton of time into show preparation, research, not to mention money buying records and CDs, promoting the show, you name it. But that's the way I am. I don't do anything half-assed. I typed up playlists and posted them online, sent them to labels requesting promos, etc. It was a real thrill for me to play this crazy-assed music on the airwaves. I'd sit there at the station while doing the show and just get a huge rush off of the thought that this stuff was going out over 50,000 watts and anyone in their cars could just flip it on. And that thrill never really wore off, even after almost 11 years.

It wasn't until family responsibilities started getting in the way of the show, or, more appropriately, vice-versa, that I decided it was time for a change. I was finding less and less time to put into the show and I could sense that the quality of it was diminishing because of it, and it was causing friction at home (never a good thing). I brought in and tried out a couple cohosts towards the end, thinking that would help, but it just didn't really click, and after a few months of this I just decided to pull the plug. The only reason I really had to do that was because it was a WEEKLY show, and two hours long at that. I'm way too much of a perfectionist to just go in and wing it every week. So, because I had less and less time to dedicate to the show and keeping it great (not just good), I pulled the plug on it. At the time I was also podcasting (Savage Kick), so I still had that avenue for expressing my musical tastes, and I stuck with it.

So now I don't have a radio show anymore, but I'm still podcasting, and I'm still running this site and all that. I find podcasting a LOT different from terrestrial radio, of course. But it takes a lot less time for me to prepare for and do my podcast than it did years ago with my weekly show. Plus, I think more people hear the podcast than heard the radio show. It's more convenient for people to "tune in" to a podcast whenever it's convenient for them rather than expecting them to tune their radio to your show at a specific time every week. I discovered that was just way too much to ask of most people.

So while I totally enjoyed doing the radio show and would do it again in a heartbeat (if my schedule allowed), I'm enjoying the podcasting thing because it's so much easier and less strain on my personal life.

Hope this helps! Let us know what you decide to do. You might even try to do both.

Thanks! Since I posted this, Mr. A. the Barber (of the great You Got Good Taste podcast) alerted me to this cool collection http://www.amazon.com/Plantation-Gold-Various-Artists/dp/samples/B001N26GWU/ref=dp_tracks_all_1#disc_1 I just ordered a copy.

ratoonie said:

Wow!!!!!!! what a super cool post!!!!!

A version of this was published in The Santa Fe New Mexican January 14, 2011

Junior Kimbrough is dead. R.L. Burnside is dead. Paul “Wine” Jones is dead. Robert Belfour is still alive as far as I know, but he hasn’t recorded anything in nearly a decade. It looks like the last man standing among Fat Possum’s old stable of Mississippi Hill Country blues giants is the mighty James Lewis Carter Ford, better known as T-Model Ford. He’s about 90 years old, depending on which birth date you believe. He has a pacemaker. He’s had a stroke. But the former truck driver is still on the road, and he’s still recording, as his new album, Taledragger, attests. Released on the Alive/Natural Sound label — somewhere along the line, Fat Possum ceased to be blues label — Taledragger teams T-Model with a young Seattle blues-rock trio called GravelRoad, which also appeared on T-Model’s previous record, The Ladies’ Man. (I bet The Black Keys would have walked over their grandmothers’ graves to get this gig.) The band is fortified on some tracks by a baritone sax, organ, and piano. I predict that fans of T-Model’s Fat Possum albums may be a little disappointed with Taledragger. That is based on my own initial reaction to the album. T-Model was able to create more mayhem, aided on most cuts only by his drummer “Spam” (Tommy Lee Miles) on albums like Pee-Wee Get My Gun and You Better Keep Still. But give it a second listen (and third and fourth). There’s plenty to like about Taledragger.

T-Model with Anton Terrell circa 1999

Guitarist Stefan Zilliloux gets psychedelic on the cover of Howlin’ Wolf’s “How Many More Years.” It reminds me of the basic sound of Muddy Waters’ controversial Electric Mud album all those years ago. Another highlight is “Comin’ Back Home,” which is based on Hubert Sumlin’s guitar hook on Wolf’s “Smokestack Lightning.” Saxman Brian Olive (also a co-producer of the album) gives the tune noir textures. It’s the same with whoever is playing the organ on “Someone’s Knocking on My Door.” This song sounds much like the crazy, chaotic version of “Long Distance Call” on The Super Super Blues Band, which featured Muddy, Wolf, and Bo Diddley. (It’s one of my favorite albums of all time.) And if GravelRoad sounds a little too restrained on some tracks, the group cuts loose on a joyous eight-minute version of “Big-Legged Woman.” (The best version of this one, though, remains Jerry Lee Lewis’ leering romp.) Many of the songs here are covers, and some are pretty close rewrites of blues standards. For instance “Same Old Train” sounds a lot like “Mystery Train,” even though T-Model starts out calling for his “big-leg woman.” “Red Dress” is basically a mutant cousin of Tommy Tucker’s “High Heel Sneakers.” I’m not sure who wrote the most moving song on the record — “I Worn My Body for So Long.” T-Model makes it a personal testimony to his age and mortality. He sings it like a lonesome ghost, while the slide guitar evokes images of Mississippi graveyards. It reminds me of Kimbrough’s “Done Got Old.” But T-Model sounds more defiant. Also recommended: * In the Nuthouse Now by Angry Johnny & GTO. This allegedly is a children’s album. It’s perfect music for the Children of the Damned. Angry Johnny, who used to play with a band called The Killbillies, first came to my attention in the ’90s with his album Hankenstein, a work distinguished by featuring not one but two songs about chain-saw murders. There are no chain saws here, but the title character of the song “Wendell” is pretty handy with a garbage disposal. The Killbillies are apparently gone now. It’s a loss. It was a bashing little band. But one faithful Killbilly crony, GTO, aka Goatis T. Ovenrude, plays mandolin and banjo as well as doing a bizarre falsetto response to Johnny’s calls. (Under his real name, Paul Amos, GTO did the soundtrack to Gimme Skelter, a slasher flick shot in New Mexico a few years ago.) Nuthouse is full of wicked tales of crazy violence, boozing, and other symptoms of degeneracy. But most of these are from a child’s eye view, so abuse and neglect are big themes. In “Drinking Daddy’s Beer,” a kid explains, “Mommy’s at the bar and daddy’s in jail/So I’m drinking daddy’s beer so it don’t go stale.” The ditty “Diggin Holes” is about innocent childhood endeavors: “Settin’ snares in the woods, in the woods/Gonna catch me a tiger or a mountain biker.” Most disturbing is “Kittens,” a minor-key “folk” ballad about daddy drowning his son’s kittens — and other household residents. You know a record is way out there when the most “normal” song on it is a fairly straight take on “Knoxville Girl,” a venerable murder ballad about a guy who kills his girlfriend, who pleads for her life. I’m just waiting for Angry to surprise us and do a “tribute” album of John Denver covers.