Posted May 22, 2002
ON THE ROAD
WITH ROY LONEY, KEN STRINGFELLOW,
PETER BUCK AND THE LONGSHOTS
Diary and Pictures by Get Hip recording
artist
RON SANCHEZ
of Donovan's Brain
In The Beginning
It's hard to imagine that it was almost thirty years ago that
I first met Roy Loney. I was working at the famous Discount Records in San
Jose, California; and Roy had a job with ABC Records. Of course I remember
seeing Sneakers when it came out. How could you not notice a 10-inch record
that looked like an old 78 rpm? At some point I was handed a "Light Up
With The Flamin‚ Groovies" handbill, as we were leaving the Fillmore
West, so the Groovies were always on my mind, but I'd never seen them when
I met Roy. After Roy had taken care of his promo duties, he was always glad
to hang out and talk about our favorite bands. He usually knew where the odd
Kinks tracks could be found. A few years later I had got to know Cyril and
Chris, and started going to loads of Groovies shows. At one particular gig
in Santa Cruz the opening act was Roy Loney And The Phantom Movers. It was
a shock to see the quiet guy I knew leaping around the stage.
In early 1992 I got a call from my friend Scott McCaughey to tell me that
his band the Young Fresh Fellows and Joey Kline were teaming up with Roy to
record an album and tour the North West. By coincidence Scott was another
one of the people I'd met while working as Discount Records back in the early
'70s. Five years after I had left California, we bumped into each other at
a Robyn Hitchcock show in New York City. Our friendship renewed, we saw a
lot of each other in Seattle or here in Bozeman. The third leg of this mind
trust, Joey Kline, was a Montana native I'd met when his band Boy Toast started
playing down here in Bozeman. He eventually moved to Seattle and had fallen
in with the Popllama mafia. That first tour was billed as Roy Loney And The
Northwest Movers. Along with the Fellows they tore it up , leaving a trail
of destruction across Washington and British Columbia. Thatís a story
for another day.
Ten years later, Joey invited us up to his parents home in Helena Montana
to join him for a dinner celebrating his father's birthday. While sitting
around the dinner table strategically avoiding the Super Bowl, he mentioned
that Roy would probably be in Seattle for the traditional April Longshots
gigs. Roy and Joey celibate their birthdays a week apart in April, and have
made it a habit of rounding up the band for a gig or two. Since joining REM
in 1994, Scott has given up the bass position to Kevin Lee (ex Bum) and more
recently Johnny Sangster. The reluctant Tad Hutchison had also left the fold
to be replaced by Graham Black, another Montana native and current drummer
for the Model Rockets. The lead guitar has and continues to be handled by
Jim Sangster who is best known as the bassist for YFF.
Towards the end of March McCaughey wrote to let me know that the line up for
the gigs would be the Model Rockets, YFF, Roy, and most likely the Minus 5.
The Minus 5 is a band Scott assembled when it became apparent the Fellows
were going to be playing a lot less due to Tad decision to limit his commitment
to touring. The line up of M5 has settled around the axis of Scott and Peter
Buck. Rounding out the weekend would be a Sunday night solo performance by
Robyn Hitchcock. It was hard to say no to the suggestion we make it a long
weekend in the Seattle area.
Wednesday 17 April: On The
Road
Living in Montana means that most good shows are a day's drive
away, or more. Driving nonstop to Seattle is an 11-hour proposition. Usually
we break up the long day with dinner and drinks in Ellensberg, on the east
side of the Cascades. For a change we decided to stop in Missoula, Montana
and visit our friend, Linda Azure. It‚s only a three-hour drive, but
it allowed Kazzer to work a full day before we left town. Our long dinner
meant we missed a visit to Ear Candy, the only real record store in Montana
as far as I can tell. We also pass up a chance to see The Pleasure, a Missoula
band that had been down to Bozeman to record recently.
Our drive continues the next day uneventfully. We both duck when we pass the
stretch of I-90 where The Donovan's Brain van had an encounter with a deer
two years ago while returning from the Seattle Terrastock.
Thursday 18 April:
Jet City
Since no one has offered us a place to stay, we opt for a Travel
Lodge near the Space Needle. This puts us very close to the Crocodile Club.
The other bonus is a swimming pool and hot tub. After a long day in the car,
and a walk up the hill to buy swim gear, a few laps in the pool is just what
we need before dinner. After much discussion about out dining options we decided
it‚s the Coastal Kitchen in Capitol Hill. Joey has asked us to meet up
for drinks with him and Roy after the Longshots rehearsal. It seems like every
time we are in Seattle, Joey has found another bar that serves cheap strong
drinks. This time it's the Rose Bud, just below Broadway. Karen and I manage
to get lost on the Monorail. There are only two stations fer Christ sake!
Once we get up to Pike, we realize we are on the wrong end, and have to walk
up the hill about 10 blocks.
We find Graham waiting for us at the bar with a drink in hand. Roy, Joey and
a couple of friends arrive soon after looking fit and ready to rock and roll.
A little later we are joined by Joe Ross, our friend from the Green Pajamas.
I'd mentioned to Joe that we were meeting up for a drink, and he decides this
would be the best chance to sit down and visit. He‚s joined by his lovely
girlfriend, Erin. After a few rounds the party moves on to Graham's house.
Graham's wife is out of the country so we can continue into the wee hours
of the night. Someone finally asks if we can hear the new Model Rockets album,
"Tell The Kids The Cops Are Hear" (Not Lame). The band has
already had a release party, but manufacturing problems have pushed the release
date back "a couple of weeks". That means no CDs to sell at the
gigs. Too bad, as it's a good one. John Ramberg and Scott Sutherland are fantastic
singers and songwriters. A capsule summery would describe them as a cross
between the Hollies and Cheap Trick. We're looking forward to seeing them
over the next two nights.
ROY Loney in action with the Longshots at the Crocidile Club.
Friday 19 April: The Crocodile
Club
Joey's chosen Dim Sum for his birthday lunch on Friday, which
means we have to get up before noon. When we go around to Joey's, Roy is moving
slow after an even later night than ours. The Dim Sum is fantastic, but it‚s
not really Royís style. He searches the menu for eggs and hash browns.
He'll have to wait a couple of days for the proper American breakfast.
Karen and I head back to the hotel for another swim. A night out in Seattle
with the Young Fresh Fellows requires a certain amount of preparation. You
know that a few beers will be drunk, or maybe even something stronger. Mama's
Mexican Kitchen is a block north of the Croc, and a regular pre-gig stop for
dinner. It's no surprise to see Scott McCaughey amble in. He‚s run in
to say hi to Chuck Carroll the Fellows original lead guitar player. Seems
Chuck is going to sit in with the Fellows tonight. That promises to be a treat.
There is a faction who believe the Fellows were never the same after Kurt
Bloch joined. Check out the YFF/Richard Peterson single "New YFF Theme"
for details.
A lot has been written about the Croc over the years. It is simply one of
the best gigs I've ever been to. I have to admit, I've never been there for
one of the impossibly crowded nights when the Fire Marshall has shown up!
The club is divided into three spaces. When you walk in, you are in the restaurant.
Off to your left is the entrance to the band room. Down past the restaurant
and to the left is the full bar. Kurt is unloading his gear when we walk up.
I survey the situation and offer to lend a hand. I skillfully avoid the Dual
Showman 2x12 cabinet, and grab a guitar and amp. Even with several of the
guys playing in more than one band tonight, there are a lot of musicians drifting
in with gear slung over their shoulder.
Walking back from the bar, an unfamiliar face says "Hi Ron". It
turns out to be Bradley Wood, yet another old acquaintance from Discount Records.
I'd been in touch with him via the Man Band mailing list, but it is easily
23 years since I've seen him. He's just returned from London where he‚s
visited occasional Donovan's Brain collaborator Malcolm Morley. Malc, Richard
Treece, and Ken Whaley have been hard at work completing the long lost fifth
Help Yourself album. That record was abandon in 1974, when Malc and Ken defected
to Man. Bradley reports that it sounds just like Help Yourself.
The Model Rockets kick off the evening with a solid set made up of songs from
their new album. I can't believe I'd never seen them before. Scott McC sits
at the keyboards most of the night, and adds some harmonies. They wind up
their set with Scott Sutherland singing Cheap Trick's "Come On Come On".
By the time they leave the stage, the club has filled up.
There seems to be a real buzz in the air for Roy Loney. Over the last 10 years
the Longshots have released one studio album, and recorded nearly two more.
There is also the live album recorded in Spain. Tonight's set will draw heavily
from Full Grown Head and the soon to be released "Thinkers In The Drunk
Tank". They don't disappoint. They kick the set off with "Second
Cousin" from Flamingo. The sound is not unlike the Groovies, but there
is a touch of Rockpile in the mix. Imagine Rockpile only playing Nick Loweís
punkier songs. "Stop It Baby" isn't familiar to me, so I can't say
for sure if it's a cover or one of the new originals Roy has told me to expect.
"Have You Seen My Baby" is most definitely Randy Newman. I think
the Longshots have played this one early every time I've seen them.
"House Of Games" is another new one. It's a bit more heavy rock
than some of the others. Jim Sangster steps up for some rude noises from the
Les Paul Deluxe. It's about this time that the addition of Johnny Sangster
on bass become apparent. He's playing a Mustang bass through an Ampex SVT.
This would be Bill Wymanís set up in 1969. It's a beautiful sound,
and gives the band's a solid low end, and pushes the Graham's drums harder
than in the past.
They have hit a stride and rip through four more Longshot tunes, non-stop.
"One Track Mind" is another "Think Tank" track. "See
Jane Goes" and "Gentleman Junkie" are two from the fabulous
"Full Grown Head". Scott McCaughey sings the bridge on "Jane",
a song he co-wrote with Roy. "Gentleman Junkie" has an interesting
background. It's about Charlie Watts. Roy told me the story he'd heard about
Charlie and his habit. In 1996 I quizzed Pete Brown about this. Pete dodged
my question, though I gather he knew more than he wanted to tell. It wasn‚t
too long after that Charlie did admit to falling into "some stupid stuff
after all these years". Sad story aside, it's a great song. The "Full
Grown Head" album seems hard to find, though I believe it's on vinyl
via Munster. Check it out.
"Blow Off Some Steam" is another new song. It's not on the tape
of Think Tank that I've had for a few years, so it's new to me.
The Longshots reach back to the beginning of Royís solo career with
"Don't Believe Those Lies" from the impossible to find "Artistic
As Hell" EP. Now that they've reached full speed, there is no stopping
and they slam right into Phantom Mover. Don't even ask Roy why "Out After
Dark" isn't available. The set winds up with scorching versions of "Roadhouse"
and "Teenage Head". With four bands on the bill, the sets all clock
in at 45 minutes, and there is no time for encores.
The Minus 5 are a different kettle of fish. When Scott McCaughey signed on
to REM in 1994, it looked like it might be the end of The Young Fresh Fellows.
The Minus 5 was a new outlet for Scott's songs. The friendship between Pete
Buck and Scott was also a musical collaboration. Apparently Buck writes dozens
of tunes a year, with only a handful making it to the biannual REM release.
This band is the natural outlet for all those other songs. Ken Stringfellow
has been involved right from the start. Tonight he's sitting in on the keyboards,
and adds his fine vocals. The secret weapon is their drummer Bill Reflin.
Seems like Scott said he'd been in Ministry. I know he's got at least one
solo album that features the likes of Robert Fripp. He hits 'em hard with
a lyrical touch. John Ramberg from the Model Rockets has become part of the
live band, singing and handling the second guitar. On stage Buck is content
to take care of the bass duties, though he's more likely to play guitar on
the records.
Musically, the Minus 5 are more of a straight-ahead rock band than either
REM or YFF. Two of Scott's influences: the Kinks and Mott The Hoople are present
in the sounds. The set list draws from the recent "Let The War Against
Music Begin", and the "tour" album "In Rock". While
waiting on Mammoth to release the former, the went in and recorded "In
Rock" over a couple of days. More recently Scott cut another album in
an equally short time with Wilco backing. They play four new songs, a couple
that Scott claims they've not recorded yet. They also cover Paul McCartney's
"Eat At Home". Robyn Hitchcock slips out of the wings to reprise
his spoken word bit on "Your Day Will Come" to close the set.
In the end, Scott's involvement in REM managed to revitalize The Young Fresh
Fellows. After touring all of 1995 with REM, Scott regrouped the Fellows for
a tour with the then very popular Presidents Of The United States. They also
recorded "A Tribute To Music" which was only released in Spain!
The follow-up was release last year to coincide with their tour opening for
the reformed Soft Boys. Robyn Hitchcock is heard to call the Fellows "America's
only rock band". He may be right. Since their debut in 1984, YFF have
released more records than I can recall. Most of them are really good, especially
"Electric Bird Digest" and "Because We Hate You"; their
half of the double CD with Minus 5. Live, the Fellows are never ordinary.
I don't know how many times I've seen them now (two dozen?) On one occasion
in Bozeman the set collapsed after two songs, but they kept playing for another
hour, before the sounds man pulled the plug. On the first outing with Roy,
the Fellows play over 100 different songs in five nights.
It seems everyone is keeping things tight while playing in front of the home
town crowd. Jim Sangster later says it never really crossed the line. Lucky
for us, because it means we get to hear two songs that are rarely played:
Whirlpool and Fuselage. Roy and I both enjoy these immensely. Ken Stringfellow
fails to appear when called up to play organ on "For The Love Of A Girl".
He finally makes it to the stage in the middle of a mad version of "Palisades
Park". Kurt Bloch is a big fan of Richie Blackmore, and launches into
a Deep Purple-like solo at the end of the song. I can't think of many guitarists
I enjoy watching as much a Kurt. As soon as the music starts he's a non-stop
bundle of energy, his brain connected directly to his fingers; a huge smile
on his face the whole time.
Seated behind him, Tad Hutchison is his drumming equal. His style could only
be called "original". It‚s a bit like Keith Moon, with that
strong surf influence. Despite making records for 18 years, the Fellows remain
one of Seattle's best kept secrets. The recently-disbanded Fastbacks, Kurt's
band, had been around since 1979. The combined sales of these two band's 30
or so releases would be a mere drop in the bucket compared to the bands that
followed the trail they blazed across the Northwest with so little recognition.
CHUCK Carroll (eating his guitar at right) on stage with the Young Fresh Fellows.
After a brave performance of Fuselage, Chuck Carroll joins them
for the remainder of the set. They slide into a mutant variation of the "Young
Fresh Fellows Theme". Chuck seems a little bewildered, but it's a treat
to see him back on stage with the band. "Powermower's Theme" is
one of the early classics. Ken launches into a bit of greasy blues on the
organ with Tad. He's trying to lead them into Equator Blues, but none of the
others pick up the cue. It's another from the first album instead, Teenage
Dogs In Trouble. Chuck finally finds his feet and rips off a solo that sends
the crowd into a frenzy. Kurt answers with some more fancy fret work before
the songs crashes into Rock And Roll Pest Control. I guess you have to know
the songs to appreciate the moment. There's a short stop for air before the
final blast with "Get Out Of My Cave".
Saturday 20 April: 3B Bellingham
The beauty of it is: this is just a warm up for tomorrow night
in Bellingham. The Sangsters have invited us all to a Saturday afternoon brunch
in Ballard, before we load up for the 90 mile drive north. The 3B in Bellingham
was the home of the Garage Shock Festival for several years. It's run by Aaron
Roeder, the drummer from the Monomen. He seems chuffed to be hosting tonight's
show, and hands out beers to everyone as we walk in. This is a wonderful return
to the early days of GShock: the hotel is staggering distance across the street,
pizza next door, and beer!
From the first note it's obvious tonight is going to be a lot more fun than
the previous night. Everyone is a lot more relaxed and it shows right away.
The Model Rockets seem to rock a lot harder tonight.
Sitting in the hotel room before the show, Roy and I got talking about local
Bay Area TV of our youth. We both hit a blank while trying trying to remember
the name of a South Bay used car dealer who had a late night movie show. He'd
also put out a record, which I have. We both use our best memory tricks but
fail to come up with the name. I think this along with the pre-game nip of
Scotch has Roy feeling every nerve in his body by the time he hits the stage.
The Longshots revamp the set list, opening with "Panic To A Manic Degree"
right into "Can't Explain". The sound is a little better tonight,
a bit more crunch. There are none of the shaky moments that invaded the set
last night.
The next four songs duplicate Friday's set list, but they are played even
better. It takes Roy a few tries at the introductory wail of "Bip Bop
Boom" before he counts the band in. By now the audience is dancing to
the non-stop beat of the Longshots. "Send In The Girls" is another
song that's new to me. "Blow Off Some Steam" sound like the Who
tonight. Roy's quiz show introduction of "Sorry" baffles the audience,
and he finally gives up and announces it as a song by the "fuckin' Easybeats".
Before the show, Pete Buck has let it be know he'd love to play "Teenage
Head" and "Slow Death", but he doesn't know either song. Joey
Kline has given him a quick tutorial, and Kurt's loaned him his Les Paul so
he can fulfill his dream of playing these two chestnuts with Roy. Again, Scott
is sitting in on piano and organ for the whole set. I'm taken aback when I
realize our Roy is responsible for these two rock and roll classics. The crowd
erupts with recognition from the opening chord. Both Joey and Jim make sure
Pete has a clear view and can follow all the changes. With out much effort
the Longshots have bested Friday's set, and left the crowd smiling.
The Minus 5 take up the challenge, and storm out of the gate. The middle of
the set if filled out with three covers. "Little Black Egg" has
appeared on "In Rock". "Good Guys Don't Always Wear White"
is familiar to everyone. I don't know the first song Ken sings. Scott scolds
the band for the funk jam they fall into when he leaves the stage in search
of a spare guitar. Ken does a nice job with the Bee Gees' "Massachusetts".
While Pete Buck is content to hang in the background, he's got a mean bass
sound going tonight. Things turn silly by the last song. A drunken friend
of Buck ís is invited on stage to sing a verse, but when he starts
requesting Jimmy Buffet songs Pete responds by removing the hapless fellow's
pants to the amusement of the crowd.
PETER Buck (centre) checks out Joey and Jim's fingers to establish the correct
chords for "Teenage Head"
After the set, Roy and I corner Scott to see if he can help
us remember the elusive name of our used car dealer. He doesn't even blink:
"Jay Brown". Not only does Scott know his name, it turns out he
was a huge fan, had his autograph, and knew his slogans "The price slasher
lives" and "Hacking and a hewing". Roy and I are stunned, and
relieved that we found the answer to our question.
The Fellows are fueled by stiff drinks poured from Scott's Imperial of Makers
Mark. There is no doubt that tonight's show will cross over that magic line
and head off into the unknown. The trick is to keep it together long enough
to finish the set. There is a long scientific discussion about the set list.
They've got to get the correct opening salvo to set the pace. Kurt and Scott
carefully study their notes and decide it'll be the Sonics' "Have Love
Will Travel" and their own "99 Girls". At that point a drink
is spilled on the set list, and the rest of the show is up for grabs.
A song like "Why I Outta" simply defies description. The song depends
on precise timing, but Scott is making up bits as they go. How do they manage
all to come back in at the right moment? In one of those impossible Fellows
moves, Ken rushes to the mic before they can start the next song, and says
"No wait, play this song" and sings the a capella opening to "Telephone
Tree": "It's gonna be a reunion". In a blink of an eye the
band hits the down beat and plays the song. Even Scott is amazed. Ken has
sung that intro on key. I've seen Ken practice his perfect pitch before, so
I can believe what he's just done.
After a string of Fellows favorites - "Searching USA", "She's
A Book", "She Sees Colors", "Good Time Rock And Roll",
the "Big House-Walking On A Mountain" medley and "Beer Money"
- Scott throws a curve and slips into "Sentimental Journey" followed
by "76 Trombones". What can you say? It's back to the rock list
with one of my favorites, "My Friend Ringo". "Celebration"
makes a surprise return to the set, before they head towards the finish line
with "Rock And Roll Pest Control". I once asked Scott if they got
the title for "Universal Trend Setter" from the back of a bus. I'd
seen a Canadian bus parked down the street with the legend "Universal
Coach Tours, We're The Trend Setters". Scott, said "Wow, no, but
Rock And Roll Pest Control came from a van we used to see with R and R Pest
Control written on the side".
They are not ready to leave the stage yet and continue on with the beautiful
"Don't You Wonder How It Ends" from "This One's For The Ladies".
There is one more fully formed song before things start to deconstruct. "Your
Truth Our Lies" is a hilarious send up of Sham 69. "Equator Blues"
may be the first song Scott ever wrote, and I think he's still making up verses
tonight. As that disintegrates they slip into an abstract version of "Taco
Wagon". By now Scott is lying face down on the stage in the pool of beer
that has collected at his feet. Ken's moved over to the drums, and Johnny
Sangster is trying his best at the organ as the set winds down into an aimless
blues jam. I head back stage, where shortly after I'm joined by Jim Sangster
who's still got his bass strapped on and has continued playing even after
taking a nasty fall off the stage. Pete Buck is fairly amazed that Jimís
is still keeping time, and has a go at the bass himself. At this point things
get a little weird. Pete Buck starts chatting to me, and says: "Oh, you're
Ron from Montana, I love Donovan's Brain" before he slumps back down
into his chair. It's only then I realize the woman who tells me to get lost,
so she can talk to Buck is his wife.
Aaron manages to pour everyone one out of the club but the wild night has
taken it's toll on a few of the participants. Someone is heard grumbling about
their pay packet, which seems absurd at this point. The embarrassed party
makes his apologies the next day, and all is forgiven. Several of us gather
in the hotel parking lot for an impromptu hootenanny. It seems Pete Buck has
locked himself out of his room, and ca'ít roust any of the sleeping
occupants. In an honest moment he says that when he was 16 this is exactly
what his idea of a good time was. It‚s very surreal sitting around with
the hotel janitor, a slightly scary transient who can't get a room, and several
famous musicians while listening to Johnny Sangster sing the Kinks' "Days",
and Ken Stringfellow and Pete Yorn having a go at "I Am The Cosmos".
We all finally climb up the wooden hills to Bedfordshire with visions of the
Little Cheerful in our eyes.
Sunday 21 April: Epilogue
A trip to Bellingham wouldn't be compete without a family breakfast
at the famous Little Cheerful Cafe which was immortalized on the CD release
of the first two Fellows albums. Actually thatís the original location
in Seattle. The Cheerful is just across the street from the hotel where various
dishevelled participants are slowly emerging. Itíll be the Fellows
minus Tad whoís driven home after the gig; Johnny Sangster, Roy, Joey,
Karen, and myself digging into the long anticipated mountains of hash browns,
and buckets of coffee. As we are leaving Jim asks the waiter to pass on our
hellos to Robin the cafe's owner, only to learn he's sold out two years ago.
He still lives in Bellingham, and drops in regularly, so the message will
be delivered.
Sunday nights Robyn Hitchcock gig back at the Croc is quiet in comparison
to the last two nights revelry. Robyn plays a marvelous set. He‚s joined
by Scott, Kurt, Pete Buck, Bill Reflin, and Jim Sangster for the last portion
of the set. There is a stunning version of "All Over Now Baby Blue"
with Kurt picking out a counter melody on the 12-string.
We are granted special dispensation are allowed to stick around after hours
to visit a little more on our last night in town. Jim Sangster had introduced
me to Robyn two nights earlier. When I mentioned that we had several mutual
friends he asks who would that be. It‚s a long list, but he gets the
point with names like John Eichler from the Hope and Anchor, Andrew Lauder
who signed the Soft Boys to Radar, and the Brain's own Richard Treece. He
susses out that my connection to these people is through the Man Band. Tonight
he asks if I can set up a gig in Montana for the Soft Boys. They'll be on
tour this fall, and they are faced with that huge drive from Chicago, Minneapolis,
or Denver to Seattle. I assure him we can sort it out, give him my number.
As we say good night he gives me a copy of his "Robyn Sings Dylan"
CD. Thanks.
