Malcolm was instrumental in the success of the Sex Pistols, but also integral for their demise too (and legal issues for 20 years after the fact). I wonder what old Johnny Rotten (Lydon) thinks? FREDDI said:

.........AND WE DON'T CAAAAAARE !!!

Gad! All the Oldsters are dropping like Flies! We lost Scott Boroughs up here in Seattle (a local Seattle Scene fixure) and also Slats (another fixure) Not up there with Malcolm and Viv, but still Sad. Jenny said:

Odd, Vivienne Westwood died too. The Angles need bondage gear I guess

.........AND WE DON'T CAAAAAARE !!!

Odd, Vivienne Westwood died too. The Angles need bondage gear I guess

I just saw this:

http://www.independent.co.uk/news/people/news/malcolm-mclaren-dies-aged-64-1939621.html

Thanks Man, I am still putting out cool stuff in 2010/11/12! Howlin' Houndog (me!) PLUS Joey "The Saint" & The A-Men's "Old Whiskey in New Bottles" LP (Dirty Jump&Jive Blues), Ol' Cheeky Bastards (Pogues-ish Busker-Rock from San Fran) plus other goodies from cool bands as yet still to be determined. It's not getting easier though, with lots of "Brick & Mortar" stores closing and distro wanting to sell 10,000 units right out of the gate just to break even against digi downloads. To quote Wimpy form Popeye, "I'll gladly pay you Tues for Record Deal Today!" Sheesh! It is labor of LOVE. Joey "The Saint" & The A-Men's Records will be VINYL ONLY and the LP will MONO and all-analog (including the cut!) ALL DIY! Hopefully all you folks out there (left) in your Garage Punk HIDEOUT-lands will support indi-labels and bands that need to sell product to keep rollin'. It is getting pretty bleak out there lately. I'll do what I can when I can afford it, but its never easy! Keepa Rockin'! THE LAUNDRONAUTS said:

Erik, you're the real deal, man! The music world is nothing without people like you and other independents out there pushing what they believe in an getting nothing in return!
We release all our stuff on our own label, Spincycle Records. We try to give people a nice product recorded from a separate just-for-vinyl master, on coloured vinyl, with a colour-insert, CD version included, and we keep the cost low deliberately because we don't want to gouge. But at this point, we have no illusions about making our money back. We just hope people dig it and play it LOUD on their turntables. Keep the faith, brother; you're a true contributor!

Erik, you're the real deal, man! The music world is nothing without people like you and other independents out there pushing what they believe in an getting nothing in return!

We release all our stuff on our own label, Spincycle Records. We try to give people a nice product recorded from a separate just-for-vinyl master, on coloured vinyl, with a colour-insert, CD version included, and we keep the cost low deliberately because we don't want to gouge. But at this point, we have no illusions about making our money back. We just hope people dig it and play it LOUD on their turntables.

Keep the faith, brother; you're a true contributor!

All is in the title, can't find it on www.rockabilly.nl

If someone can help me out, that would be really appreciated !

thanks

Pat

Good to have you back, Mr. Electreau!

The Branded said:

For a cheap and cheerful good sounding fuzz I use a Danelectro french toast, .

Hey Andy, The Superfuzz by Voodoo Labs isn't a Superfuzz; it's a modified clone of Jordan Boss Tone which is a very cool fuzz in it's own right. I have never heard any complaints about it's reliability but I wouldn't be surprised if the switches wear out as they are a mechanical part and on an effect pedal they tend get all sorts of rough treatment from drunk feet! If you want a Superfuzz copy look at the Watson Classic Fuzz, Pretty much a dead on copy of the original Superfuzz http://www.wattson-fx.com/products.html Andy Rampage said:

really 'Glad' that i stumbled Onto this!! had a 'X' take-Off with a BUNCH Of my Guitar stuff!!
Yeah, The B*t*h should DIE! ..But that's a subject for another forum... I'm looking at a SUPERFUZZ by VOODOO labs. But ALL YOUS Guys Singin' the Praises Of The: "BIG MUFF" has me Second guessing that decision! ..which is alright by me!! Cause ANOTHER REASON I'm swawin' On THE SUPERFUZZ areits apparrent "ISSUES" with "Reliability" .. seems the switches can (and do!) wear-out fairly FAST!! So What do Ya like (SO MUCH!!) about it? ~that BIG MUFF ..WHO does it make Ya sould like?? PERKS, .. downfalls?? discuss discuss!! FANKX & Cheers

Apparently Malcolm got the idea for the"punk" fashion thing after seeing Hell at CBGB's. They then took it a step further and developed a 'look' that we now associate with uk punk. Murray Cassady said:

I know Richard Hell always goes on about inventing the punk look in 1975 - but MM and VW really did create something special. There's always more to a musical revolution than just the sounds - take away the light shows and the posters and Haight-Ashbury wasn't nearly so exciting.

First time I ever saw the Pistols was on telly in late '76 - and I know the whole LOOK of the Pistols blew my tiny mind as much as the sounds. My life truly did change from that moment, I kid you not.

...and it was, at least partly, due to MM.

I put more of an emotional investment into take a shit.

Malcolm’s legend is very entertaining. And, if it hadn’t been for his relentless quest of publicity many of the great UK punk bands may have slipped by completely unnoticed. For better of worse…

I never really liked the pistols but Double Dutch and Madame Butterfly are two of my all time favorite singles.
RIP Malcolm.

I know Richard Hell always goes on about inventing the punk look in 1975 - but MM and VW really did create something special. There's always more to a musical revolution than just the sounds - take away the light shows and the posters and Haight-Ashbury wasn't nearly so exciting.

First time I ever saw the Pistols was on telly in late '76 - and I know the whole LOOK of the Pistols blew my tiny mind as much as the sounds. My life truly did change from that moment, I kid you not.

...and it was, at least partly, due to MM.

not that I really care... someone might, but i don't...

State Records' small yet perfectly formed roster is now up on Music Alley:

Good question re: royalties. I would imagine both in varying percentiles. Rinjo Njori said:

Loads of bands get a push from commercials. if they get paid then good for them, If Joe Strummer can validate selling "london calling" to Jaguar then all bets are off. So who do you think got the royalties Sam and Dave or Reigning Sound?

Loads of bands get a push from commercials. if they get paid then good for them, If Joe Strummer can validate selling "london calling" to Jaguar then all bets are off. So who do you think got the royalties Sam and Dave or Reigning Sound?

See. That's what I believe. Young people who recognize great songs. The "get it for cheap" only makes it into the equation when it comes time to pitch it to the boss. BLACKCAT69 said:

I can still hear"Like a Rock". Fuckin' hell!

I agree with the hook premise. I work in advertising too and we are looking for energy!

Rockin Rod Strychnine said:

Well, that could possibly be the final part of the process....but I have to believe that the seed that starts it all is some cool person who decided to go into advertising stating "People have got to hear this song! and it would work so well." Otherwise we'd still be hearing "Like A Rock" by Bob Seger.

I can still hear"Like a Rock". Fuckin' hell! I agree with the hook premise. I work in advertising too and we are looking for energy! Rockin Rod Strychnine said:

Well, that could possibly be the final part of the process....but I have to believe that the seed that starts it all is some cool person who decided to go into advertising stating "People have got to hear this song! and it would work so well." Otherwise we'd still be hearing "Like A Rock" by Bob Seger.

Hellllooo! Maybe you should consider Wimple Winch, these guys are ace!

Another Bobby Fuller song "Another Sad and Lonely Night".

* Like Flies on Sherbert by Alex Chilton. I downloaded this the night after Alex died. I'm still coping with the concept of losing Jim Dickinson and Alex Chilton within a few months of each other. What a loss for Memphis music -- though I'm sure Memphis not only will endure but prevail.

I was a fan of the Box Tops -- "The Letter" was a hit when I was in junior high and somehow memories of the Oklahoma State Fair are tied up in that song for me. And I was a fan of lots of the bands Alex produced -- The Replacements, The Cramps, etc.

But I wasn't that huge of a Big Star fan. Their sound always seemed just a little too pretty for me.

If you agree with me on that -- and please spare me the hate mail if your don't-- this album, recorded in the late '70s, is a twisted treat. It's roots rock for the criminally insane -- mutant blues and inspirational slop. True AllMusic's Stephen Thomas Erlewine called this "a front-runner for the worst album ever made." I don't care. I like it.

Chilton obviously foresaw the rise of punk-blues here. Jon Spencer, Bob Logg and half the bands on Voodoo Rhythm probably owe him a debt of gratitude. I love the lazy boogie shuffle of "My Rival" colored by Ubu-like electro-noise and "Hey! Little Child" which almost sounds like he hired The Shaggs' drummer Helen Wiggin to sit in.

The title song sounds like some Electric Light Orchestra tune being torn apart by wild dogs.
He also does a cowpunk assault on country music on songs like "Waltz Across Texas," "No More The Moon Shines On Lorena," (an old Carter Family song about slaves I suspect has roots in minstrelry) and "Alligator Man," in which Chilton sounds more like Alfred E. Neuman than Jimmie C. Newman.

But my favorite here is "Baron of Love Part II" feature a crazed Ross Johnson, Tav Falco's drummer, on a stoned rant. (This song also is available on Johnson's own compilation Make It Stop!: The Most of Ross Johnson.)

R.I.P. Alex. You rarely failed to surprise.

* His Guitar, His Sons And The Congregation Of St. Luke's Powerhouse Church Of God In Christ by Rev. Louis Overstreet. Here's some raw, rocking gospel from Arizona (!) recorded in the early '60s by Arhoolie Records' Chris Strachwitz.

Before he settled in Phoenix, Overstreet, a Louisiana native traveled throughout the South and West as a street preacher and musical evangelist. He sang playing electric guitar and bass drum, backed up by a joyful vocal group made up of his four sons . In 1961, he became pastor of the St. Luke's Powerhouse Church of God in Christ. (I don't think that particular congregation exists anymore. I found 10 other Churches of God in Christ in Phoenix, but no St. Luke's Powerhouse.)

"Powerhouse" was a fitting name. Overstreet bellowed his praises of the Lord. It's no exaggeration to say that you can hear the spirit at work, especially in the lengthy and frenzied "Holiness Dances."

This version of the album includes the original 1962 recordings, but some additional recording by Strachwitz, including several recorded at Overstreet's home in which the preacher plays acoustic guitar.

* Born Losers by The Stomachmouth. Before there was The Hives, The Stomachmouths were your favorite band --at least for garage rock fans in Sweden in the 1980s.

This is a compilation of Stomachmoth hits, plus a couple of tunes from frontman Stefan Kery's post-Stomachmouths bands, The Mongrels and The Toneblenders. (Thus the "various Artists" tag by eMusic.)

The music is good basic Fuzz & Farisa very Seedsy, very Standellish, with proper nods to The Yardbirds and "I'm Not Your Stepping Stone." My favorite tune has to be the appropriately titled "Wild Trip."

For a history of The Stomachmouths CLICK HERE

* Showtime by Ry Cooder. Here's one I remember from the mid '70s. Following his wonderful Chickenskin Music album, in which he introduced Flaco Jimenenz and Hawaiian giants Gabby Pahinui and Atta Isaacs, Cooder took to the road with The Chicken Skin Revue, a band that included Flaco and soul singers Terry Evans, Bobby King, and Eldridge King.

There's a sad, slow version of Blind Alfred Reed's "How Can a Poor Man Stand Such Time and Live?" I still like The Del-Lords' stomping version the best, but this version hits from another direction. Also worthy is "Dark End of the Street" featuring Evans and Bobby King on vocals and Ry's slide guitar. And you can't go wrong with "Jesus on the Main Line," a longtime Cooder favorite.

But the reason I downloaded this is because of the ones in which Flaco and his magic accordion are spotlighted -- "Volver, Volver" (almost as good as the version by the late Chris Gaffney with Billy Bacon) and the medley of a polka called "Viva Seguin" and Woody Guthrie's "Do Re Mi." Woody surely would have appreciated his Okie migration classic being slyly transformed into an anthem for a new group of California-bound migrants also lacking in the Do-Re-Mi.

PLUS:

* Two songs featuring the team-up of The Dubliners & The Pogues. I picked up "The Rare Auld Montain Dew" and "Irish Rover," which I played on my Irish music special on Terrell's Sound World a couple of weeks ago.