Set your sails and let me take your ship to foreign shores...

For my first post, I thought, "Vera, you have to find a great album!"

Bathory's Hammerheart is one of those great albums.
This is a definite Must Have™ in any metal collection.
Bringing forth Norse Mythology into the lyrics of albums such as Blood Fire Death, Hammerheart and Twilight of the Gods, Bathory is seen as the pioneers of Viking Metal. Now, admittedly, not everyone that is into metal is into the whole Viking/Norse Metal scene, but if you were to own ANY album of this genre of metal, this is the album to own.

The album starts off with the sounds of water lapping onto a shore. "Shores in Flames". A soft, almost lulling sound begins as the melodic voice carries you into a voyage set off by Norsemen to conquer foreign lands leaving shores in flames and cities in ruin. The chanting "Shores in flames... shores in flames" draws you in, like the rhythm of the paddles of dragon boats on a choppy sea; and the power of the ocean, the voyage, the pillage can be heard deep within the guitars and vocals.

Continuing on to "Valhalla" the vocals are much more raw and desperate. A screaming homage to the God of Thunder, Tor (Thor). A warrior's fate is met. The constant crashing cymbals is reminicent of clashing swords and shields in battle. The roar of thunder echoes in the background, calling out to the God of Thunder. This must be listened to very VERY loudly.

In "Baptised in Fire and Ice", the chunky guitar riffs in this song continue to drive your heartbeat to the rhythm of some unseen force. Quorthon's voice tells a tale of a child growing up and learning the ways of Norsemen, the powers of nature, the wind, the sea and of course the power of fire and ice. The continual story of values passed from father to son. In this song, the music seems almost secondary to the vocals and until you can really get a handle on Quorthon's singing style, I recommend you keep the lyric sheet handy.

The next song, "Father to Son", takes "Baptised in Fire and Ice" from the point of view of a father . It starts off with the sounds of home-life in what we could imagine to be a normal sort of village. The sound of a blacksmith clanging steel, a dog barking, a baby crying. The slow chanting when the music starts is a paradoxical prelude to the amazing guitar and drums to follow seconds later. The mixing of vocals and guitars has met a balance like it did in opening song.

"Song to Hall Up High" is an acoustic. Falling on the heels of the heavy melodies this song is almost like a psalm to Oden.

Immediately, Quorthon brings your back into another heavy song. Vvornth's hypnotic drumming in "Home of Once Brave" almost sets you to flight with the beating wings of one of Oden's ravens; flying over the vast land that he is said to have ruled. The open guitar chords and long riffs send you soaring over mountains and forests tall and wide. A majestic feeling echoes as the song trails off into a distant horizon.

"One Rode to Asa Bay" begins with the sound of galloping hoofs; an almost ominous sound. The lyrics sing of the coming of Christianity to the Norsemen. The guitars almost cry in pain as Quorthon sings and the churchbells ring in the background. The chanting throughout is foreboding and as the last line of the song is sung the screaming guitars wail in a very sad and tearful way.

Listen to this album up to … ELEVEN!

Bathory's line-up for this album:

Quorthon-vocals, guitar, electric guitar, backing vocals and fx

Vvornth-drums and percussion

Kothaar-bass

Everybody, Welcome Vera to The Grunt Army: 120 dB's Division.

Yes, it's true. I finally have a contributer. Grunt Ahoy! will likely never have one (just a girlfriend), since it is such a unique animal. But this blog kept bothering me, asking me if it could get married. I relented and let 120 dB's loose into bloggerland to find its mate. Vera accepted the call and is now baring the next generation of Babylon for 120 dB.

My idea was that my love for metal wasn't hardcore enough to really offer a serious look into good and obscure bands. I could do Priest and shit like that, but Opeth and Venom, etc., that's Vera's baby, totally. I will focus on my punk, garage, and hard rock/rock'n'roll tastes--that are loud. This is the key, it has to be good loud music. I cheated a few times, but got away with it because only five people have ever read this blog.

I'm glad to have Vera on board. If you are now sulking, wondering why you didn't get picked, well, I reward loyalty, dedication, and a little thing called good taste. Plus, Vera doesn't blow me off and is not flakey, so I can depend on her to really contribute here.

Everybody give Vera a big 120 dB's welcome. Turn your Marshall stacks up to 11, your Hiwatt heads up to Townsend, your Fender Deluxes up to Hurricane, and your Messy Boogers and Bogners up to now.

Crikey, that's fuckin' loud!!!

Okay, these guys are just plain noisy: Blue Cheer.

Blue Cheer's debut album "Vincebus Eruptum" is Latin for control of chaos. I can't think of a better way to describe this album. It is Heavy Metal, circa 1968. Just listen to "Parchment Farm", or their cover of Eddie Cochran's "Summertime Blues". You will find objects burst from the sonic power of this breakthrough album. This is not pretty; it is ugly and intense, so it is not for just anyone. If you like extremely loud music, however, you'll love it.

Humble Pie: A great choice for rocking out old, old school.

Pretty much all I have to say about Humble Pie is two words: Steve Marriott. He is this pint-sized, mod-turned-rocker, whose voice just oozes ballsy, high-pitched soul. Having axe man extraordinaire, Peter Frampton, on board didn't hurt either. Frampton is better known for his solo career, ironically, one that was launched from another live album, the biggest selling live ablum ever, "Frampton Comes Alive". While there are no "Frampton" sized hits on Humble Pie's featured album, this is one of those listening experiences that you can file under: "I felt like I was in the freakin' front row!"

Quick history lesson: Steve Marriott came from the legendary mod/soul/psychedelic band The Small Faces, which after he left became, simply, The Faces. The Faces acquired Ron Wood and Rod Stewart and essentially were starting to steal The Rolling Stones fire, in their ability to bring the house down. I guess that's why The Stones stole Ron Wood away from them. The Faces are the superior group to Humble Pie, but Humble Pie did a better live recording, in this offering, than anything that the Faces put live on wax. Why? Well, it's not the performance, rather, this one has a certain voodoo charm about it that's hard to explain.

So, back to our little history lesson. Steve Marriott, singer/guitar player, decides to quit and grabs a fresh-faced teenage Frampton to form a harder version of the Stones. When it worked, it was divine. However, it never seemed to really take off where it should have, given their talent. I still can't peg just exactly what it was. Maybe the fact that the two leads in Frampton and Marriott cancelled each other out star-wise. They both played massive boogie rock guitar and both had great voices. Who knows. I think that for casual listeners, a best of would be the way to go with these guys. But if you like real live rock'n'roll, that does not backslide, pull punches, or lack raw energy, then this one ranks with some of the best live albums ever.

Eddie Kramer is the man you want producing your live album. That is a fact. Not only has he worked on various Led Zeppelin records (you can credit him with the far out bleed through mistake/cover-up on "Whole Lotta Love" where Plant sings, "Woman you need it!"), Hendrix (He built the Electric Ladyland studio at Jimi's request), and so many more huge things. But his live credentials are astonishing: "KISS ALIVE!", "Frampton Comes Alive", Led Zeppelin's "The Song Remains the Same" record and movie, The Rolling Stones "Love Ya Live", and Humble Pie's performance here. The list goes on and on with this man.

The first song on this album is Ida Cox's "Four Day Creep". It starts out with a single riff, then a double, then Frampton goes off on a melodical guitar run that floats off like an electric butterfly. Frampton is the first in singing and has a lower, smoother voice than who comes in next: Marriott! Marriott comes in tag team style and raunches up the stage. Great tune.

"I'm Ready", starts with Steve Marriott testifying soulfully to the audience asking them, "Are you ready?" and I'm guessing that Peter is the one doing the call and response on the guitar. Marriott shouts, "There it is...Oh, God Yeah! Pick it up!" while the drums kick in and the whole house comes tumblin' down. "I'm drinking T.N.T.", Marriott sings. No shit! Frampton comes in a little later and it just feels so right. The band gets right in that groove and all you have to do is lay back and enjoy it. Frampton's solo work is so beautiful, it doesn't rock like you think it should. It has this lyrical flutter that contrasts to Marriott's unflinching rhythmic power that really makes it special. Frampton sings, "I've been drinkin' gin like never before". Marriott joins in, "Feelin' good. You ought ta know. One more drink--wish you would. Take a whole lot of lovin' to make me feel good. I'm ready!!!" I do believe that KISS ("Cold Gin") owes these guys and Willie Dixon some royalties, or at least a nod.

"Stone Cold Fever" this one really exhibits Marriott's vocal prowess, and has the best shit-faced riffs this world has to offer. Beer companies, you should be stealing this one for your adverts. Frampton delivers an out of this world jazzified guitar spurt. Only Jeff Beck does this better. Marriott makes a little comment on his girl that cracks me up, "She's got two arms, got two legs, got two titties, got one nose..."

The next tune is a cover of Dr. John Creaux's "I Walk On Gilded Splinters". This thing runs 23 minutes and 25 seconds and never gets dull. It burns slow, then just rages out of control in certain points, and turns to embers near the end. In Peter's quiet intro, you can hear someone in the audience drop a beer bottle on the floor and it goes rolling down. "Gris gris on yo door step", Dr. John's Creole English mix gets treated to a full on electric drama treatment of reverent, yet spooky, hushed spell, followed by sublime outbursts of pure ecstasy. At the end, I believe they mix in another piece in there of a blues artist. Who, I don't know, but it blends in seamlessly.

Muddy Waters is tapped here as well, in, "Rolling Stone". This one is a slow, yet muscular track that pounds and trills it's way into your bad thoughts--on part I. Part II: Marriott gets dirty. A whore offers her daughter but with one caveat: "You can have her all you want, but don't forget me--'cause I haven't had any in a long, long time!" At the end of this long track, they do a boogie send up that gives you that little reward for sitting through dirty story time.

In "Hallelujah (I Love Her So)" Humble Pie does Ray Charles. It is my least favorite track on this album, but I guess you had to have been there. Hey, they all can't be winners. It's actually pretty good, but, meh.

"I Don't Need No Doctor" is my absolute favorite Humble Pie song. This live version is so powerful. Steve Marriott's voice and Frampton's guitar's, buttressed by Marriott's axe, just peels the paint off the joint. I don't need to say anymore that this, "I don't need no doctor, 'cause I know what's ailing me....all I need is my baby!" The return on this number is the orgasm. Trust me, if you like this kind of music, then you'll have a happy ending.

Play it Loudest!

Just Get This One, Now!

Pete Shelley is the consummate Pop/Punk lyricist. These are some of the 20 (or more, if you get the newly remastered version) most catchy and brilliant songs from the punk and post punk era, ever. Steve Diggle and Pete Shelley also provide plenty of twin guitar action with good taste and no wanking. Of course, wanking has it's place, just not in this genre. Also, Pete Shelly provides most of the quirky lead vocals with a real addicting tenor. Diggle handles the harmonies and some lead vocals.

Every song is a pleasure here, with plenty of great guitar hooks, melodies, and superior drumming by John Maher. My fav's are "Orgasm Addict", "What Do I Get?", "Ever Fallen In Love (With Someone You Shouldn't've)?", "Everybody's Happy Nowadays", "Harmony In My Head", "Oh Shit", and "Autonomy". There's too much here to go into at length. You just have to trust me. If you like loud and fast with a touch of sensitivity, humor, and MENSA level pop smarts, buy this album, now.

Dinosaur Jr: You're Living All Over Me.

J. Mascis, Murph's, and Lou Barlow's three album stretch as the original, pre-grunge hype, Dinosaur Jr., created a sonic canvass of mayhem, to which perverse pop accents were added. Unfortunately, this also contributed to the next big thing phenomenon--something critics and music journalists slobber on 'till it loses its potency. The fuel for their innovation was the conflict between the two that came to a head here, their second record, and only got worse on the next record, "Bug".

While Bug may have the anthem in "Freak Scene" that prepped the alternative rock movement for Nirvana's reign, "You're Living All Over Me" is superior in my opinion. Here's why: Take three guys, give them influences ranging from Black Sabbath to The Cure, in that combination J. Mascis' Neil Young vocals and effect saturated, hyper-gained guitar frenzy, and what you get is another SST breakthrough album. But, this was more than a breakthrough, it was one of the first masterpieces for alternative hard rock.

The first track "Little Furry Things" has the typical Mascis laconic vocals being beat to shit by his own screeching wah guitar and Barlow's thundering Rickenbacker bass. I can always tell it's a Rickenbacker bass just by it's trademark punchy thunder: Old Geddy Lee (Rush) tracks, Lemmy Kilmister, and Chris Squire to name a few. Mascis starts singing about bunnies and other unintelligible stuff, but it's cool. It's probably about getting hurt by somebody.

"Kracked" is a punky ditty that goes from minor keyed riffing, to laid back verses, to soft minor keyed riffing again, then into a whirlwind of drums and guitar that scorches your ears. Then Barlow's bass hops on you to beat your brains, solo style, followed by earnest, pleading, vocals by Mascis. This leads into "Sludge Feast", a hairy, sonic mud ride that flings you right into the stratosphere. Of course, Mascis starts to sing in his lazyboy voice about a girl, which then leads into, again, sonic mayhem, twin guitar solos, and terrific drum bashing by Murph. Mascis works his way back to the soft singing, then, pow, they snap your neck into again.

The next track, "The Lung", is quite pretty, despite the hard playing involved. The song is about the frustration of not being able to "collapse the lung that breathes the doubt in everyone". The thing that makes these guys stand out is that their songs have several different movements in them, almost progressive.

"Raisans" is where you'll be able to hear the Neil Young bastard son comparisons, that J. Mascis gets, in full bloom. I absolutely love this song, even though it is faulted in a couple of its transitions. This song is about the torture of being around someone that you can't get along with, but care about deeply, I think. As stated before, J. Mascis has this lazy yobbing voice that makes it hard to decipher some words.

"Tarpit" is a sunny, sludge-drenched, if that's even possible, tune that kind of hangs in the air, stoned and spacey like. That's about it on that one.

"In a Jar" is Dinosaur Jr.'s best tune in some ways, and my favorite tune of theirs. It's just funny, but sweet. I know what this song is about. The only thing I can say is that I just want someone to pat me on the head and tell me that I've been a good boy. Women only, please. I'll lick your hand in return and graze by your window. Keep the scar/scab jar away from me, though. But, I'll try to understand your pain and make you feel better.

"Lose" is an emotional, crying-out tune, that is short but pretty. Similar to what I said earlier, this is The Cure meets Neil Young.

"Poledo" is a Barlow creation that is so odd and out of place on this album. Kind of like The Beatles "Revolution No. 9", it is disjointed and full of tape edits, but it does have some actual song moments in it. If you haven't checked out Lou Barlow's group "Sebadoh", then do it now. They rock my lo-fi world.

If you have the SST version, I think that this is the end. If you have the Merge records reissue, then, you are treated to a cover of The Cures' "Just Like Heaven", only punked out with a hardcore chorus. It rules!

Play it loudest!

How many of you have listened to this album, Zen Arcade? If you haven't and liked Nirvana and similar bands, then you owe it to yourself to check this one out. First off, this album was originally released on the SST label family. Husker Du was a hardcore band that took innovation past the threshold within a genre not known for evolving beyond loud and fast. The alternative rock concept was yet to be conceived in 1983, as well. So what in the hell were they, then? They were originals, the vanguard, practically unknowns.

Here's what you need to know: Bob Mould is a guitar wielding beast. Need proof? Just listen to his solo album "Black Sheets of Rain" and the album "Copper Blue" from his group Sugar. He also has a keen lyrical sense and infuses his white noise raging with melody. This is why I can listen to "When Pink Turns to Blue" and feel the horror and the sadness of discovering the girlfriend dead from an overdose. Variety is the word: most hardcore can get "samey" real fast. Not Zen Arcade, however. The album needs to be taken in as a whole. It changes with fluidity and where the seams get ripped in transition, it feels appropriate. It is a concept album.

The feeling of never getting to leave your hometown. That loneliness of being left behind. The defeat of moving away in spite, then realizing that you're screwed. The pain of being abused, drug addiction, and settling for the safe hometown job and girlfriend, only to see all your dreams go down the drain. It is depressing as hell, but it is an emotional journey. One that many kids have gone through in one way or another. I have had a portion of this story played out in my life. I can feel it, touch it, and taste it. It is bitter, but the music and the words console me. It calls out to me with understanding that someone knows, and the loneliness is shared. It says to me, "A shared burden is less heavy".

What is a Zen Arcade? It is a place where you play and get played. A place where peace is for sale, but at a price unattainable. Where the games that you play take you further away from your best intentions, with every quarter spent. It is, in every sense, Pleasure Island. I hope you come back.

Meat Puppets

This is one of those records that you'll either love or hate upon first listen. For those whose Meat Puppets experience has been limited to the song "Backwater" and the appearance with Nirvana on MTV's Unplugged, then this record will be a shocker. For hardcore enthusiasts, this will be a must buy record. In fact, if you buy the newly-reissued CD, it features the mega-necessary "In a Car" EP. I have the LP, so I still need to get that EP. The one cool thing about this LP is that it is a 45 and not a 33RPM, which means you can slow it down and make them sound like monsters.

The Kirkwood brothers and their friend Derick Bostrom, formed the Meat Puppets in 1982 and hailed from Phoenix, Arizona. This the place of my formation as well, so it's all rather cosmic--wow. Back to our story, The first song hits you hard in the head, which is either good or bad. You either come to the conclusion that this is not for you, or you go, "Hell yeah, I can't understand what this guy is screaming about, but it sounds like he's vomiting his guts out on to the floor." How can I describe it in more contemporary terms? It's like if Caleb Followill (Kings of Leon, singer) was killed, buried, then brought back to life as a zombie, then started singing in a hardcore-punk band.


(Meat Puppets, from left: Derick Bostrom, Kurt Kirkwood, and Chris Kirkwood)

The guitars, courtesy of Kurt Kirkwood, are fantastic. He did something different, incorporating humor and atonal jamming into hardcore. His brother Chris' bass has a bouncy quality that just wants to come out and play around with his brother's guitar. This is the key relationship that makes the Puppets' magic. The overall sound fluctuates. You can hear the origins of their sound to come, with a nugget of country hidden in all the noise.

My favorite tracks on this record would have to be "The Gold Mine", "Saturday Morning", and "Walking Boss"--a classic track. I also love the two instrumentals: "Our Friends" and "Milo, Sorghum, and Maize". Another thing that I always look forward to when taking out my Meat Puppets albums is the artwork, done by the Kirkwoods.

In addition to the humor and country influences, the Puppets weaved elements of psychedelia into their songs. Most of this album sounds like a few guys in a garage thrashing away after dropping way too much brown acid. So, go forward with caution on this one. I warned you. You just might find that you're sick enough to like it.

Bad Brains

I've been listening to Bad Brains self-titled debut album lately. This is not their SST label contribution and I know that I promised SST label stuff, but what the hell. This album is from the ROIR label. I don't know enough about that label to comment any further.

Bad Brains are hardcore, and often fused reggae with their hardcore, or just regular old reggae. Bad brains are one of the best hardcore-punk groups ever. They are also black. Not your typical punks. They started playing jazz-fusion and are accomplished musicians. Why in the hell would they start playing the hard, loud, fast style hardcore that was all the rage with the white boys in the late 70's? Simple, they had aggression, they had anger, they had something to say, and they needed to say it loud.

So, what do a bunch of rastas sound like playing hardcore-punk? Well to put it short, ungodly awesome. HR, Joseph I, or the "throat" (as the band called him) was a yelling, yelping, and grunting (I like the grunts) dynamo. The rest of the band kicked as much ass as anyone ever did before and after them. They were masters of the hardcore riff, thanks to Dr. Know and his massive guitar work. Just listen to "Pay to Cum", "Big Take Over", "Supertouch/Shitfit", or "Banned in D.C." and you'll be converted.

I like "Attitude" and "Sailin' On" personally. On Attitude, HR sings about having a PMA (positive mental attitude), so these guys weren't about gloom and doom, but being effective and positive. My favorite track is "Right Brigade". All I can say about that track is holy shit on a ham sandwich! I just want to keep turning it up and up, 'till my ears start bleeding.

Bad Brains did include some pretty decent reggae on this album, but if you want their best hardcore/reggae or just plain reggae offerings, then get "I Against I" on the SST label. But this one, Bad Brains, is the essential hardcore album along with any Minor Threat, Black Flag, Misfits, or Germs album. It was first released only on cassette, but now has been re-issued on CD. The sound quality is not top notch, but this was the 1981-82 underground D.C. hardcore scene. So, this CD still has a underground demo feel to it that finds a way to explode through its technical limitations. If you really care about hardcore, or if you need a lesson (because your punk vocabulary is limited to Greenday), then get this album right now, Bad Brains.

Play it loudest!!!

The Perfect Band for a Horror Movie Soundtrack:

Do you think it might be possible to re-unite The Cowsills to do a 70's throwback style horror flick, say in the vein of "The Last House on the Left"? I bet you're all wondering, "WTF, did he just mention the real life Partridge Family?" You heard me correctly, The Cowsills. I couldn't think of anything more terrifying than a brutal slaying being accompanied by that rain-in-the-park song, or whatever the hell it is, "And I knew she could make me happy...happy...HAPPY!!!" The SST label round up is coming...plus one ROIR label review. Guess which one that is. SST labels will include Husker Du, Meat Puppets, and Dinosaur Jr., so stay tuned.

Beating the Blahs With the Zombies

I've borrowed the Zombie's classic "Odessey & Oracle" from my big brother. I've had a hard time with the winter blahs lately--who am I kidding--it's been pretty rough for me. This blog was intended for loud music: rock 'n' roll, hard rock, punk, garage, and heavy metal. It has started to drift in purpose. I have not been able to get into the hard stuff lately due to my mood being in need of lifting. So here's Odessey and Oracle spinning in my player. I wonder if it's got what it takes to get me out of the dregs.

The first song is "it", the mood lifter: "Care of Cell 44". It is a love song of sorts about a man looking forward to his girl getting out of prison. I don't know why she is in prison, but this was in the late sixties, so let's say it was dealing drugs, demonstrating against the war, or both. All I cared about was the opening old-timey, upright piano plinking out metallic notes and chords, shortly accompanied by a crisp snare and stiff bass drum and this vocal, "Good morning to you, I hope your feeling better baby." That's exactly what I needed.

If you are wondering about what the Zombies are most widely known for, that would be the singles "She's Not There" and "Time of the Season." Rod Argent was their keyboardist and had a great deal to do with the complex--for rock--arrangements. He later went on to form his band, Argent. The other part of the band that contributes to its distinct taste is the vocalist, Colin Blunstone. His voice is ultra smooth and stays at a limited tenor sweep that rises and falls coolly like a saxophone. The bass (Chris White) likes to play counter to his vocals. The vocal arrangements and harmonies are on par with that of the Beach Boys, Moody Blues, and The Mammas and the Pappas. The rest of the album is serene and somber, pretty; distilling quiet sorrow from hope. It is this process of extraction that lifts me.

I could put Care of Cell 44 on repeat and bliss out, but I need to realize a bigger experience. I want to spend a day listening to this album, the Beach Boys' "Pet Sounds", The Kinks' "Village Green Preservation Society", Beatles' "Sgt. Peppers", King Crimson's "In the Court of the Crimson King" (to frighten me a little), The Small Faces' "Ogden's Nut Gone Flake", Love's "Forever Changes", and The Moody Blues' "In Search of the Lost Chord". I think a sick day is in order.

What would happen if...

...you listened to Iron Maiden's "Number of the Beast" while sitting at this grave?

Favorite Song of the Moment: Shake Some Action!

The Flamin Groovies are a group that I discovered a few years back. They got their start in the mid-sixties and hailed from San Francisco. They really didn't fit in with the times then, eschewing the hippy movement for a real rock'n'roll revolution. Roy Loney, their original lead singer, was a maniac. If you check out their Fillmore performance on the live album "The Flamin Groovies in Person!!!!", especially the song "Slow Death", then you'll know what I mean.

Roy Loney left the group in 1970 and lead guitarist Cyril Jordan was left with the task of getting the band on their feet again. The first thing they did was add an apostrophe to "Flamin", then the group moved to England. The group teamed up with rocker/producer Dave Edmunds in the early seventies and started to record. This material didn't get released. It took years before they got out a record. This first record of the new Flamin' Groovies was the Dave Edmund produced "Shake Some Action". This was in 1976 during the Brit punk heyday. As usual, they were out of place with the times.

Back in the Roy Loney era, they played around with traditional 50's rock'n'roll and even country, adding what could only be called an "alternative" twist to it. Of course, I started out with their classic "Teenage Head" album, and this is where this "Loney" era sound is best represented. The new Groovies record "Shake Some Action" features some of that kind of sound, too. But without Loney there as resident psychopath, those tracks don't have that same energy. The parts of "Shake Some Action" that really stand out are their sixties "Anglo" revival attempts. This stood in direct contrast to the Punk movement, because Punk was basically throwing down against all the dinosaurs and establishing the new rule. I love Punk, but I love my Beatles, Stones, The Who, and especially the Kinks, even better. The Groovies did their own take on these groups (and even late sixties BeeGees) and came out with songs that don't come across as either pastiche nor mere tribute, but are still fresh, original statements on the genre. This new material didn't take off right away, but the Groovies eventually got back some respect in Europe.

My favorite song, period, right now is the title track from this album "Shake some action". This is the only track that I'll elaborate on. This song starts off with a lonely guitar riff sequence from Cyril Jordan. Then the drums crash in along with a two-note bass thud, then the song takes off galloping into a fast-paced emotional ride of lust, longing, and rowdy passion. From the chorus: "Shake some action is what I need to let me bust out at full speed. This is surely what you need to make it alright." Simple lyrics, but their phrasing and execution of them makes you feel something more complex is going on, and sung with a tone best described as earnest desparation. The harmonies are excellent on this song, and only get better throughout the whole album. Sometimes on this album, you swear that you're hearing a lost Beatle song, but like I said, they go beyond that sort of thing.

One caveat for those who might like "Beatlish" tunes is the more American rock'n'roll, Chuck Berry type numbers. Sometimes I'm in the mood for that kind of thing, but most times I just select the next track. One thing of note: I, unfortunately, bought the old edition CD of this album. If you think that Shake Some Action is up your alley, then do yourself a favor and get the newly remastered version of this album. It's the one (pictured above) without the yellow text and black border. Also, the Flamin' Groovies have since had many different incarnations and have released a lot of sub-par material and look out for bootlegs as well. So, find out what's good before you buy their stuff. As for Shake Some action, the song alone has been playing over and over in my players for the past two months. The rest of the album is a bonus.

Pallet Cleanser: Marvin Gaye

I don't need to say much about this album. What I will say is that it's one of the most beautiful listening experiences that you could have, unless you absolutely hate urban soul (go listen to your Johnny Rebel records, Grand Wizard). Why post about Marvin Gaye's "What's Going On" on a blog about loud music? Well, in order for loud music to retain its impact you need to cleanse your pallet once in a while. I have a more balanced and sophisticated taste in music than what is presented in this blog. It's just that loud music is what I (mis)spent my youth listening to, and it has a special place in my heart.

Dr. Feelgood: Malpractice

I came across this album in a dusty vinyl shop that I like. The proprietor about had a baby when he saw what I had brought up to purchase. He gushed on about Dr. Feelgood for about twenty minutes before I could get away. I appreciated the story, though. I knew this much about the band before I bought this record: The group Dr. Feelgood were an influential pub rock band which had their heyday in the early-through mid-'70s. They were an influence on many British punk bands, especially The Clash. Joe Strummer belonged to a pub rock group before The Clash called the 101'ers. This is where the two groups rubbed shoulders and the straight-forward essence of The Clash came from this pub rock scene. I didn't know, however, what Dr. Feelgood brought to the table. This is the line-up from that era: Lee Brilleaux (vocals) - Wilko Johnson (guitar) - John 'Big Figure' Martin (percussion) - John B. 'Sparko' Sparks (bass).

I don't know enough about the background of the tracks, yet, to give an informed opinion on each one. There are originals mixed with covers on this album. I wish I could tell you off the bat which ones are which, but I figure if you're interested enough, you'll find out yourself. I will say that their style is straight-up, pure rock'n'roll. This is served with plenty of grit, much like the Stones. This is also a band that would be best experienced live. That's not to say that they couldn't get their sound down on record, though.

The guitarist, Wilko Johnson (second from the right), is especially good. I play guitar and can appreciate his scrappy rhythm and sparse leads--that's my style--it's more his right hand (percussive attack) than his left (fingering technique). His guitar/amp combo gives off a midrange bark that is never clean, is not heavily distorted, but hangs out where overdriven crunch likes to play.

Lee Brilleaux (second from left in the white suit) has the gruff to front the band with authority. This is a full, angry man's voice: imagine Bon Scott's vocals, but lower range. There is never a moment on this album where he doesn't shine. The rhythm section does an excellent job of moving along and providing the foundation for the other two.

The standouts on this album, for me at least, are as follows:

• I Can Tell: this is a good example of the strong vocals of Lee and the choppy guitar work of Wilko.
• Back In The Night: Wilko nails it with his stuttering slide.
• Rolling and Tumbling: This is the one to blow your speakers on. Insane hard blues rock...this is my fave.
• Riot in Cell Block #9: An awesome version of producers/writers Jerry Leiber and Mike Stoller's tune. The Coasters and Wanda Jackson did the most notable versions. Dr. Feelgood does this one good.
  

There will be many who might not get this music and pass it off as old, unhip, and obslolete. Bullshit! If you are consumed with finding something new just to keep up with or impress the hipster crowd, then you are about the scene and not the music--better pass this one up. I don't care if it's caveman farts blowing pixie whistles, Gustav Mahler, or the future reincarnation of Brian Eno (look forward to whoever he becomes), if it's good music, listen to it. Dr. Feelgood is raw, simple, and loud music. I think it qualifies as good music. Listen to it now.

The Dictators: Go Girl Crazy!

Has anybody ever heard this record before? Will anybody take my recommendation to listen to this immediately, seriously? I'm probably talking into a void here, but for those fortunate few who want to listen, here we go: Before the Beastie Boys, Spinal Tap, and The Darkness there was The Dictators. I realize that judging from my picks so far, you all probably think that I'm fifty years old. Nope, I'm still but a sprout, relatively speaking. I just have this kind of haphazard way of finding obscure stuff in record stores.

"Go Girl Crazy" was released in 1975 abouts and was the Dictators first LP. They were part of the original CBGB's scene. While they are true punks in behavior and heart, they took a more stoopid "RAWK" approach to their music. The best part of this album is how funny the whole thing is. How can you take yourself too seriously as a band when your leader goes by the rasslin' moniker of "Handsome Dick Manitoba"? The opener is a little ditty about fame, called "The Next Big Thing", but it's also their wake up call to the state of the pop music world. A fun song and it has some great dumb guitar riffs: easy to learn too, kiddies. The next tune is a royally obnoxious cover of Sonny and Cher's "I Got You Babe." It works my funny bone pretty good. These next two tunes are great. "Back to Africa" and "Master Race Rock" are entirely politically incorrect, but it's all farcical. Master Race Rock has a killer chorus to sing along to. I wish I could be playing it here for you now.

My favorites of this album are these two: "Teengenerate" and "Two Tub Man". Teengenerate has this line that just cracks me up, "Who's that boy with the sandwich in his hand?" I don't know why I find it funny, I just do. Two Tub Man is good for cranking loud. Its contents deal with the larger-than-life persona that is Manitoba. Several peiced together lines say it all, "I can go anywhere. People look and people stare.... (it's feeding time).... Do what ever I want to do...who I want to screw I'll screw!" The remaining stand out track in my opinion is "Cars and Girls", a kind of silly Beach Boys send off, but also a lament of the 70's gas crisis. The best parts of this record are of the man himself, Handsome Dick Manitoba. He has these little intro bits that are pretty hilarious where he does his pro-rasslin' shtick. Buy, beg, borrow, or steal this album. Unless you are a complete wet rag, you will not regret it. Don't take my word for it because, as the man himself exclaimed, "They're all going under the thunder of Manitobaaaaa."

Play it loudest!

Chinese Rocks

Johnny Thunders is the guitarist that Slash wants to be. Even though you could argue that Slash is technically more proficient than Johnny, he can't touch his attitude. That's saying a lot. Johnny Thunders started a group called the Heartbreakers after the New York Dolls (his former band) broke up. At one point, former Neon Boys (Pre-Television) alumnus Richard Hell, was a member of Johnny Thunders and the Heartbreakers--before he formed Richard Hell and the Voivods. Richard joined forces with Dee Dee Ramone and wrote this song. Dee Dee couldn't use it for his group because Johnny Ramone was opposed to drugs being a part of the band's image--the song is about the perils of heroine addiction. So, Richard Hell and Dee Dee Ramone let Johnny Thunders use it in his band.

The guitars are so heavy on this song--raunchy is the word I'm looking for here. Don't for a minute expect anything resembling current punk here. This is straight ahead New York 70's vintage punk. The thing that has endeared me towards Johnny's guitar playing is that he has that true rock'n'roll swing when he plays, but he manages to keep it going and not devolve into boogie rock (not that there's anything wrong with that). I can't do this song justice with my words, so here's the lyrics:

Somebody called me on the phone
they said hey, is Dee Dee home
do you wanna take a walk
do ya wanna go and cop
do ya wanna go get some chinese rocks?

I'm living on chinese rocks
all my best things are in hock
I'm living on chinese rocks
everything is in the pawn shop

The plaster's falling off the wall
my girlfriend's crying in the shower stall
It's hot as a bitch
I shoulda been rich
But I'm just diggin this chinese ditch

repeat chorus

repeat verse two

repeat chorus 2x

It's probably cheating recommending a whole album, but this is one of the darkest and heaviest Sabbath albums and my personal favorite. I don't want the newbie to start at "Paranoid". How many times do you already hear "Paranoid" and "Iron Man" on a classic rock station, anyways? The reason to buy that album is for "War Pigs," but that deserves another post of its own.

When listening to "Master of Reality" for the first time, you'll suddenly realize that Soundgarden must've studied this album like the bible. "Sweet Leaf," holy shit! Ozzy is singing a love song about his stash: starts with a bong cough (Tony Iommi couldn't handle a hit and the band secretly taped it), then the coughing echoes till there's nothing but regeneration leading into "Bwah, wah...na, na, na...ba, na" (use devil horn sign and proceed to bang head to the rhythm). Ozzy first tries to get his pot's attention, "Alright now, won't you listen?" He proceeds to talk about the time that they first met, then sings,"You introduced me to my mind and left me wanting you and your kind....I love you!" I don't smoke pot, but listening to that song, I've got to wonder what it's all about. I mean, Sir Paul McCartney wrote "Got To Get You Into My Life". I hope I don't need to explain that he was not talking about a girl in that song.

There are a few slow numbers on this album, but most are crank worthy. The song that I absolutely love to crank to is "Into the Void." On this one Ozzy kind of takes a back seat and lets Tony Iommi lay down some brutal riffs. This is where one will hear how much Kim Thayl was influenced by Iommi. I really can't explain how much this series of guitar riffs means to me. The riff starts out like one guy slowly walking down the alley. You think that you can take him, but then his friend (Geezer Butler's bass) pops out behind a dumpster. You start to think that there might be a chance to get out alive, then Bill Ward's Drums beat you down to the ground. It's all over, you think, then it cuts to a slightly faster guitar riff--sans the rhythm section. This is where that first guy drags you to the gutter. Then the rhythm section hits you even harder, pummeling your brain 'till the blood drains from your ears into the sewer. You're down for the count, now.

These are my two faves on this album, but all the tracks are good.

Play it loudest!

A Damned Trio

"A New Rose":
Rat Scabies' "California Sun" style drum intro pounds alongside a thin, razor sharp, four-chord progression by Brian. This is then interrupted by Dave Vanian's ferocious bark. After all of this, chaos ensues. Gloriously addictive and the first Brit-Punk single committed to wax. "I've got a new rose. I've got it good!"

"Neat, Neat, Neat":
Captain Sensible's rubber-band bass introduces this one at break-neck speed, and yes, we get the Vampire's holler in this one too. The chorus is where you'll feel this one deep in your stem. So far, I can sing along with them on the "Neat, Neat, Neat" part. Don't ask me what the other lyrics are. This isn't what this blog is about.

"Problem Child":
The Holy Grail of two genres blended together--Mod Revival and Punk. Listening to this song, who would ever of thought that these guys would go Goth? There's also a part in the song about playing records loud at 3 A.M. My kind of lads.

Play it loudest!