I'm going to be guest vocalist with Red Tiger in 2 weeks and we don't have the damn lyrics. The song is pure rock. I'd appreciate any help.

Maybe if Beyonce had gained 60 pounds it would have been more believable. I don't think she even gained 5 pounds much less 20.

I read a ton of comic books as well but I'm not as forgiving when it comes to my rock and roll icons about inaccuricies.

I think years of being a comic book nerd has made me pretty forgiving toward historical inaccuracies in any form of entertainment. (Ever compare an issue The Mighty Thor to the actual nordic sagas? yeeeesh.) Anyways, I haven't seen it, mostly because the only press I ever saw on it were articles about Beyonce adding 20lbs of weight to play Etta James.

Since I figured it couldn't possibly be 20lbs of talent, I gave the movie a pass.

As far as Ms. James being a republican... I read her comments as coming from someone who felt disenfranchised from the entire system, as opposed to buying into one party or the other.

It kinda pisses me off when movies are inaccurate. Sometimes the first exposure I get to someones history is through film. I always feel like a jackass when I find out that I've been believing stuff to be true and it's not. I just gotta remember to do my own research. I also get pissed when I know the history and a film changes it. It may be a stupid thing to get mad about but I can't help it.

Spoiler Alert! Spoiler Alert! It's this kind of stuff I'm talking about. I'd rather watch Dream Girls. At least evertthing there is based more on ideas of what happened (well even their timelines are kind of inaccurate but oh well) than trying to tie events to certain groups and individuals. Gas-House Gorilla said:

I finally got around to watching this movie. I actually dug it to the degree that I really enjoyed the music. That being said, this flick is so annoyingly inaccurate, it’s impossible to recommend. Much of the errors are sloppy timeline issues. Other than what has already been mentioned, one that jumped out at me is when Muddy is recording “Forty Days and Forty Nights”. After it’s recorded, there’s a push to give Little Walter a shot at a record, and they go into cutting “Juke”. The problem is that “Juke” was done four years prior to “Forty Days and Forty Nights”.

Another problem is that the film devotes way too much time to Etta James, including a fictitious relationship with Leonard Chess. This is unfortunately done at the cost of completely neglecting the likes of Bo Diddley and Sonny Boy Williamson.

Must troublesome of all though, is the film’s agenda of highlighting white musicians ripping off Chess artists. While true to a degree, the actual story doesn’t quite fit the movie’s timeline. There was in fact a huge underground blues scene in London in the early-to-mid sixties. However, it was through pop music that any widespread success was achieved during this era. It wasn’t until the emergence of the album oriented focus of acts of the late 60’s that blues was a key component of their success (Led Zeppelin, Foghat, Jeff Beck Group, Allman Brothers, etc.). And the truth of the matter is that the success of these acts helped to greatly propel Chess artists to much of the acclaim they receive today. Instead, the movie goes to great lengths to revise history. Other than the Beach Boys copping of Chuck Berry (not a blues number, btw), the film is left with fictitiously showing (as pointed out) the Stones’ hit recording of “Can’t Be Satisfied” tearing up the charts. Fact is that the Stones NEVER released a blues single in the U.S. period – completely because, despite their love of the music, they knew the blues’ appeal was too narrow to have chart success. And, to top things off, there is of course there is no mention of Willie Dixon deceitfully buying publishing rights of unknown artists, only to turn around and have them cut under his own pen; or of Muddy Waters taking liberties with songwriting credits of tunes previously released by other artists.

The final annoyance is the film’s attempt to show some sort of thread connecting the music of Chess Records to hip-hop music of today – closing with a god-awful hip-hop take of “I’m a Man”. What a sour ending.

I finally got around to watching this movie. I actually dug it to the degree that I really enjoyed the music. That being said, this flick is so annoyingly inaccurate, it’s impossible to recommend. Much of the errors are sloppy timeline issues. Other than what has already been mentioned, one that jumped out at me is when Muddy is recording “Forty Days and Forty Nights”. After it’s recorded, there’s a push to give Little Walter a shot at a record, and they go into cutting “Juke”. The problem is that “Juke” was done four years prior to “Forty Days and Forty Nights”.

Another problem is that the film devotes way too much time to Etta James, including a fictitious relationship with Leonard Chess. This is unfortunately done at the cost of completely neglecting the likes of Bo Diddley and Sonny Boy Williamson.

Must troublesome of all though, is the film’s agenda of highlighting white musicians ripping off Chess artists. While true to a degree, the actual story doesn’t quite fit the movie’s timeline. There was in fact a huge underground blues scene in London in the early-to-mid sixties. However, it was through pop music that any widespread success was achieved during this era. It wasn’t until the emergence of the album oriented focus of acts of the late 60’s that blues was a key component of their success (Led Zeppelin, Foghat, Jeff Beck Group, Allman Brothers, etc.). And the truth of the matter is that the success of these acts helped to greatly propel Chess artists to much of the acclaim they receive today. Instead, the movie goes to great lengths to revise history. Other than the Beach Boys copping of Chuck Berry (not a blues number, btw), the film is left with fictitiously showing (as pointed out) the Stones’ hit recording of “Can’t Be Satisfied” tearing up the charts. Fact is that the Stones NEVER released a blues single in the U.S. period – completely because, despite their love of the music, they knew the blues’ appeal was too narrow to have chart success. And, to top things off, there is of course there is no mention of Willie Dixon deceitfully buying publishing rights of unknown artists, only to turn around and have them cut under his own pen; or of Muddy Waters taking liberties with songwriting credits of tunes previously released by other artists.

The final annoyance is the film’s attempt to show some sort of thread connecting the music of Chess Records to hip-hop music of today – closing with a god-awful hip-hop take of “I’m a Man”. What a sour ending.

I think people are trying too hard to classify each records sound as punk or not. Sure London Calling is a "rock and roll" record by todays standards but so is Never Mind The Bullocks. I consider the Clash a punk band. I consider their records punk as well. The albums may not fit the stereotypes that have developed of what punk is now, but then? I think they were redefining punk in their time. I sometimes think people (myself included) get wrapped up in hardcore as true punk and occasionally dismiss anything lacking its aggressiveness. Just my two cents. X are considered one of the great punk bands and they don't fit the stereotypes either which suits me just fine. Great topic.

Thanks for the info. Never heard of the London SS but with a name like that, you can tell they're trying to be rebellious. Gas-House Gorilla said:

Yeah man, check 'em out. Well worth it in my opinion. Most of their stuff is compiled on "Elgin Avenue Breakdown". About a dozen tracks are studio cuts. They've got a good R&B/garage vibe. I'd say their sound is similar to Eddie & The Hot Rods.

How about the London SS? Anybody heard them? It's Mick Jones' first band (as well as a lot of other notable London punks). I understand there are some demo cuts out there, but I've never heard them. I'm curious if they're worth a listen.

Rockin Rod Strychnine said:

Would anyone recommend searching for recordings by the 101ers, Joe Strummer's band before the Clash? I think most of them are live but they've been brought to my attention a few times.

Yeah man, check 'em out. Well worth it in my opinion. Most of their stuff is compiled on "Elgin Avenue Breakdown". About a dozen tracks are studio cuts. They've got a good R&B/garage vibe. I'd say their sound is similar to Eddie & The Hot Rods. How about the London SS? Anybody heard them? It's Mick Jones' first band (as well as a lot of other notable London punks). I understand there are some demo cuts out there, but I've never heard them. I'm curious if they're worth a listen. Rockin Rod Strychnine said:

Would anyone recommend searching for recordings by the 101ers, Joe Strummer's band before the Clash? I think most of them are live but they've been brought to my attention a few times.

I think we can come back to this topic after we read all the letter sections in back issues of Maximum Rock and Roll. Gawd! Either this topic is really old or I am.

Then I propose a new question- What is Punk? Does it have to be leather jackets and mohawks? Is punk the same today as it was back in the 70's? I think it is interesting cause I don't think punk is this specific style... it is a way of thought....

white riot is only generic cause of all the hacks that copied it after Roo
At the time it was inspiring (it inspired Toronto punks to destroy 3 rows of seats in the O'Keefe center - now the Sony center for the performing arts) gotta be one of the dumbest venues I've seen a punk act in but it was fun. it's too easy too look back and judge music in terms of what has come since. frequently though what has come since exists because of what came before. I think up to London Calling the clash were stellar, Sandinista should have been a single album, not a triple but they were trying to get out of a shitty contract. I spent an afternoon drinking with joe on one trip through Toronto and we talked about how shitty a lot of us though Sandinista and combat rock were. He took it well but justified it in terms of being able to get out of the contract so they could have more freedom to do what they wanted.

Its not really harmoniezed rebellion would be more the word but i think your forgetting white riot (generic punk though it be) and clash city rocker i think could be classified as punk

Vince Taylor - Brand new Cadillac

King Kool - Gas Gasoline

The Hellacopters - (Gotta get some action) Now!

Butthole Surfers - Who was in my room last night

Didjits - Top Fuel

Add here your fave clips about motors and Rock'n'Roll.
Your own band's one,or one you liked it.

I'm looking for another DeArmond Jetsar with Goldtone's. Any one got one up for grabs? Dan

Since my feed fucked up the jukebox etc for a couple of days, some of you might not consider yourselves "fans" ...

Steve Terrell is a fan of

BIG ENCHILADA PODCAST

Create your Fan Badge

You can hear plenty of bands like this right here: http://www.garagepunk.com/category/podcast/backseat-beat/

There are lot of songs dedicated to cars,most of them in Rockabilly and Surf and not only.
But there's a band of total speed devotion,that I love, beginning from their name,QUADRAJETS!
If you don't know much about them I suggest you the"Pay the deuce" album.
(But don't listen while you're driving!)


Well,tell me yours

For rockabilly lyrics, this site is great : http://www.rockabilly.nl/lyrics/