Archive for the ‘The Cramps’ Category

NINA SIMONE

Sunday, January 24th, 2010

Listen:  Four Women / Nina Simone

Listen: Four Women / Nina Simone Nina4Women.mp3

Michael Alago signed Nina Simone to Elektra in ’92, and I’m pretty sure she made her last studio album as a result. Michael, at that point, was very friendly with her, having been an ardent fan for several years. Nina was living in LA at the time, and during October of that year, she and Michael were together doing pre-production in some studio off Hollywood Blvd.

I was in town for The Cramps as they were preparing FLAMEJOB for my label, Medicine, and had timed the trip around a three day run The Ramones were doing at The Palladium (10/14 – 16, to be exact). It was a fun one.

Both Micheal and I, as well as Johnny Ramone, Arturo Vega (The Ramones’ career long light & design guy) and Monte Melnick (their tour manager), all shared birthdays within days of each other in that exact time frame, so Alago decided to have a pre show dinner party at The Hollywood Athletic Club to celebrate all five, as well as his Nina/Elektra signing.

By then he was having a slightly difficult time getting her to record the songs he wanted. On that particular night, it didn’t help that I was enamored with her Philips period stuff. She and I sat across from each other at this long table. With Nina right next to Joey, she just got into deep details about her time with that label as soon as we asked. It was fascinating info, I was even interested in what she could recall about the actual Philips offices, which surprisingly was a lot. Plus the details of the studios, her engineers and the small, small recording budgets of the day.

‘Four Women’ was a much played single then as now, and after a LOT of champagne on her part, I suggested she re-record it for the new album. Michael at that moment was sort of standing behind her in his constant buzzing around, good host style, and just whipped his head toward me, eyes bugging and frantically hand motioned behind her head to STOP. Panicked and pissed all at once, he kept up this silent communication, but too late, she was now on a ‘Four Women’ roll. Her assistant, like Nina with back to Michael, opinioned that it was timely, and might be a good idea.

So fuck it, I threw in, “and you should make a video”.

Nina announces loudly “Michael, I want to make a video for ‘Four Women’ “.

Listen:  Four Women / Nina Simone Juke Box Tab

This was about to go very wrong when he seamlessly circles round behind me and says, “Before you forget, you should get Nina to do your jukebox tab now, and you know Nina, if we redo ‘Four Women’, Philips will just try to reposition their version and not pay you like they still don’t”.

Good move Alago, as that’s all she needed to be reminded of. End of idea, end of dinner and onward to The Ramones show (with signed jukebox tab in wallet), sans Nina.

Duane Eddy

Monday, November 30th, 2009

DuaneEddyRebelUKA, Duane Eddy, Lee Hazelwood, Jamie, American London, Reprise, RCA

Did you know that Duane Eddy combined single-note melodies by bending the low strings and adding echo, a vibrato bar (Bigsby), and tremolo – thereby producing a signature sound unlike anything that had been heard prior – the sound that would be featured on an unprecedented string of thirty four chart singles, fifteen of which made the Top 40 and sales of over 100 million worldwide? Me neither. I read it on Wikipedia.

He was not alone in the creation. Then disc jockey Lee Hazelwood became his partner in 1954, taking on role of producer and co-writer. ‘Rebel-Rouser’ is one of those songs that probably every last human being has heard, but didn’t know it. Well I hope so at least. Peaking at #6, it was also his biggest chart success.

DuaneEddyStalkin, Duane Eddy, Lee Hazelwood, Jamie, American London, Reprise, RCA

Listen: Stalkin’ / Duane Eddy & His Twangy Guitar DuaneEddyStalkin.mp3

It’s B side, ‘Stalkin” is a whole other story. Now this is more the dark side sound that helped invent one of the most potent threads in music, a line followed by The Gun Club, Tav Falco’s Panther Burns, The White Stripes and most importantly, The Cramps. And of those bands alone, there were endless unsuccessful imitators.

It just oozes of girls in tight sparkly capri pants and spiked heels, slowly grooving their hips to the the record as it spun in the jukebox at a local malt shop.

DuaneEddySurfinPS, Duane Eddy, Lee Hazelwood, Jamie, American London, Reprise, RCA

Listen: Your Baby’s Gone Surfiin’ / Duane Eddy DuaneEddySurfin.mp3

Everyone jumped on the surf craze in the early 60′s. For Duane Eddy, it actually was a perfect fit. He kind of invented the sound, a seamless musical transition from rockabilly to the white kid, carefree, silver spoon lifestyles of surfers. Despite ‘Your Baby’s Gone Surfin” hardly denting the Billboard Hot 100 (#93), I remember it vividly. Even bought the single, or had someone buy it for me more likely. Little did I know, his band, The Rebels, had become Phil Spector’s regular studio outfit. Makes perfect sense then that The Blossoms, also vocal backup regulars on Spector sessions, provided all the singing here. Yes, that’s Darlene Love you’re hearing, just as you might be suspecting.

DuaneEddyShuckin, Duane Eddy, Lee Hazelwood, Jamie, American London, Reprise, RCA

Listen: Shuckin’ / Duane Eddy DuaneEddyShuckin.mp3

B side ‘Shuckin”, you gotta love the song titles, sounds like a routine jam with the sole purpose of churning out a flip to ‘Your Baby’s Gone Surfin”. Even so, the natural groove makes it a keeper. How many of these would they knock out in a day? I’m scared to reckon. Somewhere there are tape vaults….

DuaneEddyGuitarWasMadeUSB, Duane Eddy, Lee Hazelwood, Reprise

Listen: This Guitar Was Made For Twangin’ / Duane Eddy DuaneEddyRepriseUSB.mp3

Once the Nancy Sinatra success train was powering full steam ahead, on her Dad’s Reprise label, with Lee Hazelwood ably handling all production and songwriting, my guess is he suggested Duane Eddy be added to the roster. A seemingly under thought covers album of then current day hits, THE BIGGEST TWANG OF THEM ALL, allowed for one original ‘This Guitar Was Made For Twangin”. Despite a basic instrumental re-write of ‘These Boots Are Made For Walking’, he retains full writer credit, well at least as far as the label copy reads. I have to believe behind the curtain, there was a handshake share with Lee Hazelwood, writer of ‘Boots’ – or maybe not. He was the producer, it didn’t sell, and who cares anyways. Luckily the track was issued as a single.

The Cramps

Saturday, August 15th, 2009

A band like The Cramps don’t come along once in a lifetime, they come along once.

Footage from their Australian tour in support of FLAMEJOB. Thanks to Lindsay Hutton at The Next Big Thing for the tip off.

The Everly Brothers

Thursday, May 21st, 2009

everlywakeps, everly brothers, phil everly, don everly, cadence

Listen:  Wake Up Little Susie / The Everly Brothers EverlyWakeUp.mp3

 

 

everlycathy1,everly brothers, phil everly, don everly, cadence, warner brothers

Listen:  Cathy’s Clown / The Everly Brothers EverlyCathy.mp3

 

 

everlybabyoutjail, Everly brothers, phil everly, don everly, cadence, warner brothers

Listen: I’m Here To Get My Baby Out Of Jail / The Everly Brothers EverlyJail.mp3

 

 

everlydontletwhole,Everly brothers, phil everly, don everly, cadence, warner brothers

Listen:  Don’t Let The Whole World Know / The Everly Brothers EverlyDontLet.mp3

 

Talk about remembering your childhood. ‘Wake Up Little Susie’ precedes mine, but I still seem to remember this record being out. I’m guessing it was played for years after hitting #1 in ’57. I’m pretty sure my babysitting cousin Peggy would let the changer keep repeating it endlessly on my parents Living Stereo console, during which she would lock me in the bathroom, while she and her boyfriend made out (I’m guessing). 

There’s something to be said about siblings, and how their voices are magic together. The McGuire Sisters, or Ray and Dave Davies – you’d think John and Exene were family members sometimes. I wonder what Ron and Russell would sound like if they sang together?

Here’s something interesting, for what sounds like the ultimate white pop music, both ‘Wake Up Little Suzie’ and ‘Cathy’s Clown’ scaled to the #1 spot on the pop AND the RnB charts. Can you believe that!!!

After the brothers bailed  for Warner Brothers in 1960, their original label, Cadence, continued to release the odd single in the hopes of grabbing another hit. One such 7″: ‘I’m Here To Get My Baby Out Of Jail’ snuck out in August ’62. Not as wild as the title suggests, it’s nonetheless grown on me over the years. The record’s humble chart run and placing (6 weeks, #76) in Billboard being part of the attraction. I love a flop.

By ’63 the hits had pretty much dried up – and not surprisingly, the British Invasion crippled them as it did so many other clean cut late 50′s/early 60′s teen stars. They released a version of ‘Love Her’ in that year, only to be usurped by The Walker Brothers rendition. In fact, ‘Don’t Let The Whole World Know’, the B side to ‘You’re My Girl’ (#110, 2/65), is a total cross between The Walker Brothers and The Cramps, two acts everyone, even The Everly Brothers, wishes they were like.

The Standells

Sunday, May 3rd, 2009

The Standells - Sometimes Good Guys Don't Wear Black

Listen: Sometimes Good Guys Don’t Wear White / The Standells StandellsGoodGuys.mp3

Most people were disappointed by follow up singles, I was usually the opposite. Accepting that my tastes fell off the straight and narrow, the mid chart followups pleased me more every time. Like with this one, I always had wished they were the bigger hits. A real testament to this song’s quality came when The Cramps started covering it during the Kid Congo era.

I had seen The Standells open for The Rolling Stones, along with The McCoys, on July 6, 1966. While trolling backstage to nervously reacquaint The Rolling Stones with myself (as if they cared) – having gotten into their dressing room the previous October (see my Alvin Robinson post for the full story) – I stumbled on most of The Standells. They looked old and kind of fake to this little kid. Indeed, they weren’t true beat group long hairs and were slightly advanced in years having done the early 60′s LA circuit during the surf days. Never mind. I was way more interested in seeing The Rolling Stones. Years later I did regret not knowing enough about The Standells history at the time. Like, for instance, that Gary Walker from The Walker Brothers had once been a member. Missed opportunity, I’m ashamed to say.

This followup to ‘Dirty Water’ was all over my local station that summer (see local WOLF chart below). God, it sounded fantastic on the air. Bless him, Little Steven plays it on his Sirius channel, but unfortunately, it might be the remastered, digitally polished and shined stereo version. So just in case, here my friends, is the mono single, taken right off my original 7″ purchased at WT Grants that very summer.

WOLF charts 7 23 1966

The Cramps

Friday, April 3rd, 2009

Seeing is believing.

Courtesy: Lindsay Hutton

Bob Seger System

Thursday, February 26th, 2009

Ramblin' Gamblin' Man / Bob Seger System

Listen: Ramblin' Gamblin' Man / Bob Seger System BobSegerRamblin.mp3

In ’68 this bordered on garage rock. Caught my ear the very first time it came on the air. I forever associate it with The Choir’s ‘It’s Cold Outside’, a terrific single despite it’s overflowing power pop sweetness. Probably Bob Seger’s finest moment. Mind you, this is coming from someone who never listened beyond to his other work, except when he got real traction years later and his stuff couldn’t be avoided. I would always cut him a break though, his heart seemed in the right place and despite his appearance, it appeared he loved to ‘rock’.

I was equally impressed when he showed a true card: even he wanted to be like The Cramps. His ‘Old Time Rock And Roll’ is the perfect corporate rock, cleaned up, MTV friendly version of the pure primal blueprint: The Cramps ‘God Damn Rock And Roll’. What a compliment. He got film usage, mainstream American ‘Rock’ radio play and a license to print arena tickets out of it – while The Cramps resided happily in the tunnels beneath hell. Yet another example of Lux Interior’s lyrical genius:

Jill’s bucket Jack had to hold,
Humpty dunked it ’til it done explode,
Even before Van Gogh had art
Adam & Eve did it in the park

They did that Goddamn Rock n Roll
The kind of stuff that don’t save souls
Ain’t nothin’ good about it that I know
I dig that Goddamn Rock n Roll

(lyrics reprinted without permission)

Listen: Goddamn Rock And Roll / The Cramps CrampsGodDamn.mp3

The Cramps

Saturday, February 14th, 2009

 'Garbage Man' UK Test Pressing

Above: ‘Garbage Man’ UK Test Pressing

Listen: 'Garbage Man' UK Test Pressing CrampsGarbageman.mp3

'Garbage Man' Withdrawn UK Picture Sleeve

Above: ‘Garbage Man’ Withdrawn UK Picture Sleeve

'Garbage Man' UK Picture Sleeve

Above:  'Garbage Man' UK Picture Sleeve

Above: ‘Garbage Man’ UK Picture Sleeve

She Said / The Cramps

Listen: She Said / The Cramps CrampsSheSaid.mp3

'Goo Goo Muck' / 'She Said' UK & US Picture Sleeve

Above: ‘Goo Goo Muck’ / ‘She Said’ UK & US Picture Sleeve

Below: Jukebox Tab signed by Lux Interior

jukebox tab filled out by Lux

Bikini Girls With Machine Guns / The Cramps

Listen: Bikini Girls With Machine Guns / The Cramps CrampsBikini.mp3

A 'post it' Lux stuck onto my UK PS for 'Bikini Girls With Machine Guns' when in the Medicine offices, December 1994.

Above: A ‘post it’ Lux stuck onto my UK PS for ‘Bikini Girls With Machine Guns’ when in the Medicine offices, December 1994.

Ultra Twist (Single Version) / The Cramps

Listen: Ultra Twist (Single Version) / The Cramps CrampsUltra.mp3

'Ultra Twist' UK Picture Sleeve

Above: ‘Ultra Twist’ UK Picture Sleeve

Watch: Ultra Twist / The Cramps (Above)

Watch: A Lux Finale (Below)

A band like The Cramps don’t come along once in a lifetime, they come along once.

The Screaming Blue Messiahs

Tuesday, December 30th, 2008

Bikini Red / The Screaming Blue Messiahs

Listen: Bikini Red / The Screaming Blue Messiahs ScreamingBlueBikiniRed.mp3

Bikini Red / The Screaming Blue Messiahs

Brilliant single. Please listen all the way through. Try to find one for your collection as well. Howard and I picked up their option from WEA UK, allowing us to release their records via Elektra. Not only were the albums great, so too were the guys. Bill Carter is one of the most talented fellows ever. They needed a tour to support the first US release in ’87. I had an idea. Ask Lux and Ivy if The Cramps would be interested in the band supporting their summer US dates. The answer: Yes! Bang, we killed two birds with one stone. The Messiahs had a hot tour, and Howard and/or I could use Elektra’s money to ‘cover’ as many dates as possible on behalf of the label. We ended up seeing the package many, many times. Well done.

THE CHEMICAL BROTHERS

Tuesday, December 23rd, 2008

Hey Girl Hey Boy / The Chemical Brothers

Listen: Listen: Hey Boy Hey Girl / The Chemical Brothers HeyBoyHeyGirl.mp3

How often do you see a 7″ single by The Chemical Brothers? Actually this was the first of two, that I’m aware of. And it’s US only. If ever there was a great night out, it’s at one of their live shows. You almost, like with Kraftwerk, The Ramones, Suicide or The Cramps, need not bother going to see anything else ever again. Well that’s a bit strong, but not far fetched. This also was a favorite call and response number I sparred off with between myself and our daughter Ping when she was about 5, so pretty sentimental. Even though it’s fairly current, and well known, it’s still a great single – and sounds amazingly good in the Seeburg.

THE TUNE ROCKERS

Thursday, November 27th, 2008

The Green Mosquito / The Tune Rockers

Listen: The Green Mosquito / The Tune Rockers 01TheGreen Mosquito.mp3

On Thanksgiving, let us give thanks to Buffalo band The Tune Rockers from 1958. Without them, and their ‘Green Mosquito’ there may never have hatched a ‘Human Fly’ or possibly even The Cramps. Shudder.