peter zaremba - The I-94 Bar
2018 kicked off with the release of Amy Rigby’s “The Old Guys” (Southern Domestic). That was probably my outright, most spun album of the year and always played from start to finish in its proper sequence. Produced by Wreckless Eric, this really should be on every year end list. I hope that one day, the world will catch on because it could sure use her music as a balm right about now.
The Dahlmanns “American Heartbeat” mini album (Beluga/Ghost Highway) features six songs whereupon Moss Rock City’s finest team up with Björne Fröberg (Nomads) and Chips Kiesbye (Sator) to deliver another chapter in timeless pop. It has a semi-baroque, almost folk quality. Line’s voice really has that Linda Thompson quality come to the fore. When I say folk of course I mean the LOUD variety, not that finger in one ear malarkey. Not that there’s anything wrong with that.
My patience with one and two-person acts is often stretched but The Courettes are the exception to that rule. This fuzztastic duo make records that actually live up to the dynamite show. It’s nice to see them receiving the praise they deserve and how things are actually growing for them. “We are The Courettes” is their latest and unreservedly recommended album.
Lucy and The Rats, who are in Australia as I tap away, were the best thing I saw at the Wurlitzer Anniversary weekend in Madrid this past September.
The Fleshtones joined by Miriam Linna (and Dave Champion at right of stage) . Photo: LePetitRusse
The “Wheel of Talent” was spinning in northern Ontario, Canada, baby. Oh yeah!
I very rarely open the newsletters and catalogs I get from various labels and bands but for some reason I was drawn to this month’s from Norton Records.
What do I see but that the mighty Fleshtones are playing two hours from home. And Sudbury hometown girl, Miriam Linna (head honcho at Norton Records, ex-Cramps drummer and solo artist in her own right), was going to be joining them. On stage. So, yeah, I had to go.
Meet Keith Streng, Ken Fox, Peter Zaremba and Bill Milhizer. Jacopo Benessi photo.
Here’s another plea for justice and a call for long overdue respect. Add another name to the list of bands whose “failure” (such a harsh word when applied without context) to break into the mainstream is not just unfathomable but criminal. Ladies and gentlemen, I speak of The Fleshtones, stars of stage and screen and bearers of a vibrant new record, “The Band Drinks For Free”, on Yep Roc.
The Official Biography lists it as Album Number 21 (including live releases) and says the band is in its 40th year, but let’s dispense with the figures and deal only in facts. The first one is: If you’re not listening to The Fleshtones, you’re a loser. The second is: It’s never too late to shed your loser status.
The Fleshtones emerged from a basement in New York City’s Queens borough and onto a stage at CBGB in 1976. Largely written out of histories of the Lower East Side scene despite being fixtures at places like CBs, Max’s Kansas City, The Pyramid, Danceteria and Club 57, they went through a trailer-load of trials and tribulations (labels going broke, line-ups in flux, drugs and drink) to “almost make it” in spectacular style.