blondie - The I-94 Bar
Veteran ex-Aztecs, Fanny Adams and BeeGees guitarist Vince Melouney has released a digital single with some high calibre helping hands.
Blondie’s Clem Burke is on drums on the cover of The Easybeats’ “Women” with Tel Shamy producing. Jonathan Lea of The Jigsaw Seen is on additional guitars, Alec Palao on bass and Paul Kopf on backing vocals. Alec and Paul are members of San Francisco-based band Strangers In A Strange Land and also play in the current version of The Seeds.
Check it out here.
Oh Christ. The Barman’s on the phone from Bondi. Says he’s gonna make me a star. David Essex once made me a similar offer which probably would have certainly given me a #metoo moment. A Top 10 list? Shit. Have you seen the state of Planet Earth?
Just when you thought the whole place couldn’t sink much further, they gave a pussy grabbing paedophile the keys to the kingdom and a button for his tiny finger. I tried not to write. Mother said something about “if you don’t have anything nice to say…” I’d been putting my foot in the truth for a long time and it was getting me in trouble. Hate mail. Death threats. I wasn’t allowed to attack their freedom to be dicks.
And it’s been a shit year with a whole bunch of old timers coming back to provide a less than memorable version of the past. I could name names but, let’s just remember I was there when those moments were something to throw your life behind. Best thing about saying that is anyone asking “Is he talking about me?” is probably right.
Noticeable Exception 1 is Top Ten 1.
1. PATTI SMITH plays Sydney 2017. How to grow old disgracefully…
If Jack Lee went to his grave only known as the guy who wrote the Blondie hit “Hanging On the Telephone” he’d be more noteworthy than all of us combined and then some. The irony is that only music publishing houses and fans of his former band, The Nerves, would know this. Sad, but that’s the state of music in the ‘00s.
Just the facts: Their recorded output was scant but The Nerves were one helluva great power-pop band, operating out of LA in the mid-‘70s, and Jack Lee was (and probably still is) a consummate songwriter. Lee formed The Nerves and played guitar. His similarly talented bandmates were Peter Case (bass) and Paul Collins (drums.) They all sang and wrote the songs. That’s probably too much talent for one band and of course they didn’t last long…
Matthew, Ash and Wally are Even. Emma-Jane Johnson photo.
Ask any Australian fan of hooky powerpop who they rate and the answer will almost inevitably include Even, the Melbourne institution that’s been a fixture on the Oz scene since forming in 1994. Fronted by singer-songwriter-guitarist, Ashley Naylor, with Matthew Cotter on drums and Wally Kempton (aka Wally Meanie) on bass and backing vocals, they have just released their eighth album, “Down The Shops”, and it's reviewed here.
“Down The Shops” is a beautifully presented, vinyl collection of covers Even has released down the years. Ever since working up a rocking version of Badfinger’s “No Matter What” in their early mid-‘90s days playing the pubs around Fitzroy and St Kilda, Even have usually had a cover or two on the go. And they weren’t adverse to working up a load of them; they did "Even Jukebox" performances every year at Melbourne’s Cherry Bar.
One of these CDs bored me pissless, but I’m going to give it four-and-a-half bottles. One of these is a seven bottle disc, the other is also four-and-a-half bottles and (I thought) a damn sight more enjoyable.
Nothing exists in isolation. We all develop differently, in different ways, from the same stimulus. One man is a banker, another, a thief.
Musicians are popularly both isolated and part of the crowd. Some might as well open their own bank ("Elton’s Bank’) while others we suspect nick the washing off clotheslines and have garage sales every Saturday and Sunday morning to make ends meet. (No, I won’t snitch).
Blondie and her session men plus Clem Burke (obscured). Dean Ertl photo
I come at this review as a fan. Since 1976 (earlier if you count the Dolls and the Velvets), I have been enamoured of that New York New Wave sound. It's a broad church. Suicide could thrash synthesizers and Television could probe the stratosphere with spiralling lead guitar lines. The Ramones could make dumb look smart.
The Talking Heads sounded nothing like the Heartbreakers. The Fast sounded nothing link Mink DeVille. But the scene was still recognisable as a whole.
Blondie lived in the spotlight of eternal summer despite spending a lifetime dodging sun rays. You could be walking through the Lower East Side, see a boy you liked and say hello. Even if you found yourself charged with solicitation, everything would be all right because you are young, beautiful and in love.
Max’s Kansas City was one of the legendary New York City scenes of the 1970s, home to Andy Warhol’s crew and a musical stamping ground for the Velvet Underground, Heartbreakers, Iggy & the Stooges and countless others.
It’s the club where Iggy met David Bowie and had his career fortunes revived, Debbie Harry waited on tables, Patti Smith went star-spotting and the Lou Reed era Velvets played their final shows.
Former Max’s promoter Peter Crowley is hosting a 50th anniversary round of shows from June 4-8 and the line-ups feature some of the best that what’s left of the old-school NYC underground scene.
Phillippe Marcade was briefly drummer and then frontman for long-running New York City band The Senders, and a close confidant of many on the CBGB and Max’s Kansas City scenes.
Born in France, for the most illegally living in NYC, he rode the rock and roll roller coaster as hard as anyone in Lower Manhattan.
“Punk Avenue” - the title is a play-on-words reference to the Park Avenue location of Max’s - is a fantastic read. There are no dead spots; Marcade tells his story colourfully, underlined by droll, self-deprecating humour.
Legendary New York punk rock forefather, label head and manager, Marty Thau, has passed away, sources close to the ex-New York Dolls manager say. He was aged 75.
It’s OK to like pop. Real pop, that is. You won’t hear it on mainstream radio. What they play is a watered-down variant that’s polished and homogenised within a centimetre of its life. So go straight to the source, go online or (gasp) experience it at a gig, cherry-pick what sounds good and forget the rest. That’s where a band like Some Jerks comes in.
Recommending music is such a personal thing that we behind the bar are often criticised for going over-the-top in some of our evangelistic rants. Well, fuck you: No, there won’t be an apology for that, because we (mostly) review the shit that we like. Speaking of evangelism…