ramblin'
started out the weekend with a viewing of equilibrium, a kind of post-matrix remake of fahrenheit 451 about a future where "tetragrammaton clerics" incinerate "sense offenders" found in possession of books, art, and music. was reminded of the film's little hidden enclaves of the past the next day while browsing through flea markets (stopped by the montgomery street antique mall to see "rockin' robin," the new shop run by robin sylar's former wife carol galt, and ran into ex-cellar muso charlie mitchell near the booth where his old bandmate paul sevy hawks his paintings), and later that same night while visiting with fort worth uber-record collectors mike buck, ted tucker, and jim yanaway. guess it's inevitable that if you stick around long enough, you wind up trying to hold onto your own little favored bits of memory.
in relation to the teen a go go documentary, it's interesting to compare the relative longevity of "garage rock" as a genre with that of, say, doo-wop, which was all the rage among rekkid collectors when i started working in stores way back in '73: you'd see all these guys who were younger than i am now but clearly past their moment, all slicked-back hair, guinea t-shirt with tomato sauce stain, red pack of marlboros rolled up in sleeve, who'd have sold their mothers to get a mint copy of "in the still of the night" by the five satins. nowadays you can't give those recs away, but you _can_ make bank on ebay selling obscuro singles by teen-snot garage bands from the post-beatle / pre-psychedelic era (comps like norton's fort worth teen scene series actually increase the desirability among collectors for vinyl slabs that usedta sell for pennies at garage sales; a number of the bands interviewed for the doco indicated that they trashed heaps of what seemed worthless singles back in the '60s). what makes gtr-based forms of primitive rawk more timeless than streetcorner harmonizin', i think, is the energy, abandon, and sense of community that surround them -- all fundamentals which any music that dares to call itself rock'n'roll must have.
because i suck, i missed marcus lawyer's live top secret...shhhh throwdown at embargo friday night, but i did catch a little bit of the kinda shambolic bluegrass band that was playing at the black dog that night while trying to take care of some stoogeaphilia biz. (the stoogeband be's playing at the li'l wreck room this wednesday before the jam instead of our usual "i wanna be your [black] dog" thursday at the dog. we'll also be at the wreck wednesday, december 13th, then back at the dog on thursday, december 28th. in january, "i wanna be your [black] dog" moves from last thursdays to last saturdays o' the month, and we're gonna start breaking in some new stooge-related toonage; the nominal mandate is "anything before the '80s," which covers a whole lot of law, and we've talked about things like alice cooper, pere ubu, and television, to give you an idea.) my sloth isn't meant as a slight of marcos' achievement, tho; his rec is definitely one of my most fave listens o' the yr (others: me-thinks make mine a double e.p. and the little hochimen's tierra del gato).
speaking of the hochimen, ran into reggie rueffer at the goodwin "reunion" show at the black dog sat'day (that "reunion" was tony diaz's joke, since they hadn't played together in two months; the sophomore ceedee is still in the mixing stages) with eaton lake tonics and sunday drive (who are apparently the same band as e.l.t. playing different material; whatthehell?). reggie just got back from a sojourn in ireland, fiddlin' with charlie pride, and spoke warmly of the emerald isle's ppl and music. (planxty, anyone?) he's thinking about the next rekkid and considering a change to a more acoustic-oriented format, which'd actually be more conducive to venues like sambucca he's been playing a lot of lately. reg is actually looking to score a regular gig in fort worth; black dog, are you listening? there's also gonna be a spot reunion show in the fort; good news for all of us who missed the one at dada waythehell over in deep ellum a few wks back.
as for goodwin, reggie's fellow xtc fan daniel gomez discovered the hard way that the black dog swallows midrange. goodwin's evil dictator is typically careful to regulate his stage volume for optimal sound balance, but at the dog, this worked against him (can't have a rawk show without lotsa gtr, after all) until finally after repeated requests to turn up, he was able to take his rightful place in the mix. at least goodwin didn't suffer the same kind of probs the opening eaton lake tonics did with the dog's self-service p.a. bar because newly married frontguy tony diaz is [stage]crafty enough to position himself where he can hear the mains while he's singing (there's method to his madness). the hembree-stewart engine room locked it in the pocket as is their wont, playing with a trifle less abandon than we're used to seeing from them, possibly because the sat'day night audience was kinda like a somnambulant sportsbar crowd in a more dimly-lit room. sigh. (an unsolicited observation for the ladies: when you're steppin' out on a sat'day night, remember that it's almost never a good idea to get toxic garrruuunnnk in the company of guys you don't really know that well. respect yourself!)
in relation to the teen a go go documentary, it's interesting to compare the relative longevity of "garage rock" as a genre with that of, say, doo-wop, which was all the rage among rekkid collectors when i started working in stores way back in '73: you'd see all these guys who were younger than i am now but clearly past their moment, all slicked-back hair, guinea t-shirt with tomato sauce stain, red pack of marlboros rolled up in sleeve, who'd have sold their mothers to get a mint copy of "in the still of the night" by the five satins. nowadays you can't give those recs away, but you _can_ make bank on ebay selling obscuro singles by teen-snot garage bands from the post-beatle / pre-psychedelic era (comps like norton's fort worth teen scene series actually increase the desirability among collectors for vinyl slabs that usedta sell for pennies at garage sales; a number of the bands interviewed for the doco indicated that they trashed heaps of what seemed worthless singles back in the '60s). what makes gtr-based forms of primitive rawk more timeless than streetcorner harmonizin', i think, is the energy, abandon, and sense of community that surround them -- all fundamentals which any music that dares to call itself rock'n'roll must have.
because i suck, i missed marcus lawyer's live top secret...shhhh throwdown at embargo friday night, but i did catch a little bit of the kinda shambolic bluegrass band that was playing at the black dog that night while trying to take care of some stoogeaphilia biz. (the stoogeband be's playing at the li'l wreck room this wednesday before the jam instead of our usual "i wanna be your [black] dog" thursday at the dog. we'll also be at the wreck wednesday, december 13th, then back at the dog on thursday, december 28th. in january, "i wanna be your [black] dog" moves from last thursdays to last saturdays o' the month, and we're gonna start breaking in some new stooge-related toonage; the nominal mandate is "anything before the '80s," which covers a whole lot of law, and we've talked about things like alice cooper, pere ubu, and television, to give you an idea.) my sloth isn't meant as a slight of marcos' achievement, tho; his rec is definitely one of my most fave listens o' the yr (others: me-thinks make mine a double e.p. and the little hochimen's tierra del gato).
speaking of the hochimen, ran into reggie rueffer at the goodwin "reunion" show at the black dog sat'day (that "reunion" was tony diaz's joke, since they hadn't played together in two months; the sophomore ceedee is still in the mixing stages) with eaton lake tonics and sunday drive (who are apparently the same band as e.l.t. playing different material; whatthehell?). reggie just got back from a sojourn in ireland, fiddlin' with charlie pride, and spoke warmly of the emerald isle's ppl and music. (planxty, anyone?) he's thinking about the next rekkid and considering a change to a more acoustic-oriented format, which'd actually be more conducive to venues like sambucca he's been playing a lot of lately. reg is actually looking to score a regular gig in fort worth; black dog, are you listening? there's also gonna be a spot reunion show in the fort; good news for all of us who missed the one at dada waythehell over in deep ellum a few wks back.
as for goodwin, reggie's fellow xtc fan daniel gomez discovered the hard way that the black dog swallows midrange. goodwin's evil dictator is typically careful to regulate his stage volume for optimal sound balance, but at the dog, this worked against him (can't have a rawk show without lotsa gtr, after all) until finally after repeated requests to turn up, he was able to take his rightful place in the mix. at least goodwin didn't suffer the same kind of probs the opening eaton lake tonics did with the dog's self-service p.a. bar because newly married frontguy tony diaz is [stage]crafty enough to position himself where he can hear the mains while he's singing (there's method to his madness). the hembree-stewart engine room locked it in the pocket as is their wont, playing with a trifle less abandon than we're used to seeing from them, possibly because the sat'day night audience was kinda like a somnambulant sportsbar crowd in a more dimly-lit room. sigh. (an unsolicited observation for the ladies: when you're steppin' out on a sat'day night, remember that it's almost never a good idea to get toxic garrruuunnnk in the company of guys you don't really know that well. respect yourself!)
posted by stashdauber at 4:57 AM
0 Comments:
Post a Comment
<< Home