The Lords - Don't Mince Matter/No One Knows

Don't Mince Matter

No One Knows

Guten Morgen. I first learned of the Berlin-bred, Düsseldorf-based band, The Lords, from a 1980s era Ugly Things article about the Germanic Hep-cats. I was a little taken aback by the pictures of them in silly outfits and dorky Prince Valiant haircuts. But publisher Mike Stax raved about their work. Or at least, that's how I recall it. Then I happened to run across this German pressed Columbia Records single in a record store on K Street in Sacramento, CA. WTF?!?!! How did it get there? I picked it up for about $2 and fell in love. Now I understood why Stax had his lederhosen in a bunch. It's fabulous. In a quirky cold war era West German way. The single was recorded at the Electrola Studios on August 3rd, 1966 in the town of Köln (aka Cologne) at 149 Maarweg Street. The band at the time was Ulli Günther on vocals, Bernd Zamulo on bass, Leo Leitz on guitar, Rainer Petry on guitar, and Max Donath on drums. I get excited just typing those names. Just imagine how excited I am to hear the record. 

Don't Mince Matter is the A-Side and it is fabulous. The number was written by lead guitarist and the blond heart-throb of North-Rhine Westphalia, Leo Leitz. Brilliant. Such a unique sound -  from the guitar running through the swirling Leslie Speaker to the thick as sauerbraten accent. To the highly compressed high hat pounding away to the unique Burns Bass roto-string sound. But, "Don't Mince Matter"? What the hell does that mean? What do any of these lyrics mean? Can anyone make out these lyrics? It's like they cut out a bunch of words from the Webster's English Dictionary, put them into a green felt alpine hat, shook it up, laid all the words down in random order and made a non-sensical song out of the words they found. 

And if the joke is good
but I can smile and would
Well I can dream of flying
must be that me this time
If you can be my girl
I wonder, what, what you mean girl
Tell me, my girl
Tell me, my girl
Baby crack a joke, but don't mince matter (x3)
Baby crack a joke, but I'm not sure.

No One Knows gets the Flip-Side of the single. Maybe the title of the song was a rejoinder to the quizzical lyrics of the A-Side. Could be! The number was written by some cats names Geitz and Michael. It still has the kick ass instrumentation - replete with their rented Leslie Speaker system --  but the lyrics make a little more sense. It's damn near as good as the A-Side. Enjoy both. Also enjoy the video below of them doing the traditional British folk song Greensleeves and the American blues song by John Lee Hooker, Boom Boom (irony, anyone?).

Until next time, we'll see you on das Flip-Side!

Song of the Week: The Tell-Tale Hearts - Too Many Lovers

The smart ones of you out there new this was coming. Anyone? Bueller? Bueller? Anyone? 

Yesterday we looked at the 1965 recording by The Scorpions doing Too Many Lovers. Some comments to that post led us to today where we jump 21 years ahead to 1986 and across many, many miles to land in San Diego. It was there and then that The Tell-Tale Hearts traveled to a 3-track recording studio tucked away in the mountains East of town. The band at that time was (from L-R), Bill Calhoun, Mike Stax, Dave Klowden, Ray Brandes and Pete Meisner. (Meisner and Stax are both alums of The Crawdaddys, btw) This is the only TTH recording with the über talented Pete Meisner on lead guitar. And it was the last recording of The Tell-Tale Hearts as we really knew them. The TTH's superb take on Too Many Lovers was released on the Australian Kavern-7 Records.

While the arrangement stays largely faithful to the original by The Scorpions, there are some clear differences. The ethereal harmonies are gone, Calhoun's Vox Continental organ doesn't quite go to the quirkiness of the original. Mike Stax's bass work is brought to the fore, Dave Klowden's drum gets a huge production boost, particularly towards the end where the reverb drenched drum fills bring the song to a percussive end. On top of that, singer Ray Brandes attacks the song with anger whereas the Scorpions singer, Peter Lewis, sang the song with regret and sadness. And last, The Tell-Tale Hearts give the song a much needed supercharge at guitar. Meisner's guitar work (which I believe was done with a Guild Starfire III and a Vox AC30) is phenomenal and buttresses Brandes' bitter approach perfectly. Listen for the click at 1:11 as he steps on the Vox Tone Bender to take the lead to 11. 

Enjoy the two back-to-back. And if you are up for it, check out this 2009 Flip-Side post on The Tell-Tale Hearts.

Until next time, we'll see you On The Flip-Side!

Song of the Week: The Creatures - Ugly Thing

We're winding down our Down Under focus this week and we feature, by request from Jack Hayden, The Creatures doing their RCA Records release from 1967, Ugly Thing. It's the song that inspired the Raven Records collection of Aussie bands and the now 30 year old fanzine on crazed and depraved records, Ugly Things, run by Mike Stax.

The Creatures hailed from Mildura, a rural town in Victoria. The band was centered around three brothers, Herman Marcic on bass, Eric Marcic on guitar and Rudolph Marcic on drums. Greg Lawrie was also on guitar and Keith Matcham on vocals. Matcham and Lawrie are the composers of Ugly Thing, a song about, well, I'm not too sure. Mostly because I have no idea what Keith Matcham is saying at the beginning of the song. Or for most of the song, for that matter. But it still sounds cool.

The Creatures, as you can see from the picture below, liked to dye their hair various different colors. Truly some Ugly Things. 

Until next time, we'll see you On The Flip-Side!

Song of the Week: The Crawdaddys - I Can Never Tell

Of all the garage revival records you can buy, for my money, the five songs contained on the Crawdaddys' 1980 EP, 5 x 4, is the best you can get. Apologies to The Tell-Tale Hearts' Too Many Lovers/Promise single and The Chesterfield Kings' first album, Here Are The.... (check out a great song by song article about that album here and here.)

The Crawdaddys' 1979 debut album on Voxx records was amazing, but it was lacking in originals. That problem was remedied with the band's subsequent release in August of 1980. Four of the five songs contained on this EP are originals. Specifically, written by guitarists Steve Potterf and Ron Silva (far left and far right, respectively, in the sleeve above.) The lone cover on the EP, Pretty Face, is an excellent cover of The Beat Merchants 1964 song, which never saw a release in the US.

Today we'll feature the first song on the Flip-Side of the EP, I Can Never Tell. Kick-ass bass thumping along, wailing harmonica and a time change replete with yelps make this the standout on the perfect EP. The Crawdaddys would release one more single with this line-up and then the band would start changing line-ups and musical styles quicker than a teenage girl can go through emotions. Jack Lopez, Peter Miesner, Fred Sanders, Carl Rusk and Mike Stax would all appear in the band at some point. Ultimately, Ron Silva and Carl Rusk formed the Nashville Ramblers and Mike Stax (and later, Peter Miesner) formed the aforementioned Tell-Tale Hearts.

If you want to learn more about the Crawdaddys and the San Diego garage scene that spawned the Crawdaddys, Nashville Ramblers, Tell-Tale Hearts, Town Criers, Morlocks and Gravedigger V, check out the excellent blog, The Che Underground. 

Until next time, we'll see you On The Flip-Side.

Song of the Week: The Music Machine - No Girl Gonna Cry

Sean Bonniwell passed away two weeks ago after a battle with lung cancer. Sean Bonniwell is one of those guys who made great, inventive and forward thinking music. And like fellow Angelenos Arthur Lee and Emitt Rhodes, the quality of his music didn't necessarily translate into sales or fame. Sean Bonniwell did pen a certified hit for his group, The Music Machine. The song was the great Talk Talk (see vid below). But he, and the rest of the band put out really good quality music that regularly equaled or even surpassed the high standard of Talk Talk.

I never had the opportunity to meet Sean Bonniwell but I knew many people who did. The dark lyrics, black clothing (and one black glove) and gruff exterior apparently stood in contradiction to the nice and engaging personality that was the true character of Sean Bonniwell. I first became aware of the Music Machine in about 1984 when Rhino Records put out a retrospective of the band. I was immediately drawn to the music and the look. About the same time I came across Mike Stax's second issue of Ugly Things fanzine which featured an interview with Bonniwell. Stax's interview showed a man who loved crafting music and loved exploring new ideas both musically and lyrically. The scooping up of "everything Music Machine" was now my personal ambition.

Learning as many as the songs as I could figure out with my then limited ear was an obsession. Thankfully, the Ugly Things issue shown above even came with sheet music! These were not your run of the mill 1960s garage songs. These were well crafted tunes with introspective lyrics and difficult to learn music.

Our Song of the Week understandably celebrates the music of Sean Bonniwell. The song I chose is one that failed to find release during the lifetime of the the Music Machine. I did so to show how good they were. If a song this good didn't make the cut, then you know how good the other stuff is. The song is No Girl Gonna Cry and it first came into my playlist around 1986 or '87 when a German traveler some how talked his way into crashing on my living room floor while he worked on a fanzine. While in California he found his way to Sean Bonniwell and came back with a tape of unreleased songs, demos and alt. versions of Music Machine songs. I recall a stunning, live, in-studio version of The Eagle Never Hunts The Fly filled with different lyrics and the occasional mistake. It showed how strong the band was. The tape was a gift to this kid from an appreciative Sean Bonniwell. That German cat put out his fanzine, called Splendid, and in it he included a flexi-disc of two unreleased Music Machine songs. You are now listening to a digitization of one of those songs from that flexi-disc. The song did finally see a wider release in the late 90's, but I prefer you listen to that plastic flex version.

RIP Sean Bonniwell

Song of the Week: "Inside-Looking Out", The Animals

{right click here to listen to the song in another window while you read this article}

The last Song of the Week for the decade! And without doubt or hesitation or even a semblance of second guessing, I can tell you emphatically that our SOTW, this week, is my favorite Animals song ever. It is, I dare say, a perfect song. The song is called Inside-Looking Out and was recorded for Decca Records in 1966.

Let me tell you how I came to this song. Back in my high school days (or more likely shortly thereafter) in the 80s, I went out to a party with some of my lesser quality friends. The party was a dud and I sat in the living room with my mates picking through our hosts' father's records. As was always the case back then, it was a repository of 60's dinosaurs, and a few faded 70's soft rock records. I don't really recall, but he probably had the typical crappy Herb Alpert albums (though I always linger of the Whip Cream and Other Delights album cover) and the Herman and the Hermits dung heaps. But one could usually still find a good album like a Ray Charles or The Beatles Rubber Soul album. On this particular night, we ran across the US pressing of The Animals' Animalization album. I'm sure that in our always diplomatic way, we yanked off a Duran Duran or Howard Jones album and stuck this on. Just what the teens of the 80's wanted to listen to, right? Well, skip ahead a few hours and this album somehow ended up in the car with us as a newly adopted record. Liberated from it's lesser cousins in this forgotten stack and given a rebirth on a Marantz turntable just a few short blocks away. At home I was able to understand just how damn good this record was. Don't Bring Me Down and See See Rider as the first listen stand-outs. About the same time I picked up my newest issue of Ugly Things, the Mike Stax published fanzine. This would have been something like issue No. 3. In the back, Stax had a Top 10 list of songs that he was digging. One of them was...Inside-looking Out. So I put it on and gave it another listen. Who doggie. That is one hot number.

Inside-Looking Out was recorded as a stunning double sided single in the UK (the uber cool Outcast is the flip-side) and appeared in the US on Animalization and as a single where it flopped like New Coke. It's one of the last recordings with original drummer John Steel and well after band leader and organ player phenom Alan Price had left the band to be replaced by Dave Rowberry. The song was written by the Lomax brothers with Eric Burdon and bassist Chas Chandler. It tells the tale of an incarcerated man who keeps his will to live by dreaming of the day he will be released and, like the record I had in my hand, given a rebirth to live again.

Ice cold waters running in my brain/and they drag me back to work again. Pains and blisters on my minds and my hands. From living daily with those canvas bags/thoughts of freedom they're driving me wild/and I'll be happy like a new born child. We'll be together, girl, you wait and see/no more walls keep your love from me.

Besides Eric Burdon's beautiful pained performance, the song is driven by Chandler's powerfully melodic Gibson EB-2D bass and Hilton Valentine's stabbing guitar work.

It's getting louder. Can't you hear it? I'll be home soon. Whoa!

Song of the Week: The Tell-Tale Hearts -- Crawling Back To Me

For a brief blip in time, in a miniscule circle inside a small corner of the world, you would have thought 1985 was 1966. Some marketers called it the Paisley Underground. Those living it just called it "the scene". Whatever "it" was, it was a music, culture and style movement that stiff-armed the hair metal/MTV culture of the 80's and embraced -- with startling revisionist accuracy -- a mythical 60's culture.

But not in the peace, love and understanding way. In this 60's culture, there were no crappy bands like Gerry and the Pacemakers or The Union Gap. There were no flaky hippies dancing with imaginary butterflies or unseen unicorns. There was no Vietnam War or runaway inner-city crime problem or racial tensions. Nope. Instead, this culture was based on a very narrow, idealized sliver of time: 1964 to early 1967 to be exact. In this re-imagined world, bands like The Yardbirds, The Elois, The Mourning Reign and The Pretty Things won every battle of the bands. And every black eye-liner wearing, hairbangs-sporting, white patent-leather boot and polka-dot dress wearing girl, could drive a stick shift '64 Plymouth Valiant while spouting off intricate knowledge of Cuby + The Blizzards' record catalogue. Pretty ideal.

If there was a true epicenter of this imaginary world it was...wait for it...San Diego, California. Seriously. It came to be, perhaps, because of one Ron Silva and his talented cohorts who created a remarkably high quality, groundbreaking band called The Crawdaddys. But as quickly as they were created, they were disbanded. From those ashes rose many bands including one of the best bands of the worldwide 60's revision movement, The Tell-Tale Hearts. The Hearts were Dave Klowden, Eric Bacher, Ray Brandes, Mike Stax and Bill Calhoun. Stax had been a member of the Crawdaddys and published a kick-ass fanzine called Ugly Things out of a small, Grolsch Beer soaked apartment on 1st street in San Diego's Hillcrest neighborhood. (He is still publishing Ugly Things to this day!). Brandes came to the TTH from a stint in the promising band, the Mystery Machine.

In 1984 the Hearts went to Los Angeles to record their first record. Despite a production and engineering bungling that rivaled the work of Custer at the Little Bighorn, and some inappropriate album artwork by Voxx's crack staff artist, The Tell-Tale Hearts walked out with a pretty good album. The quality of their songs survived the production and in some cases thrived despite the production. The best song on that shot heard 'round the world album was the first song, Crawling Back To Me, written by the bands' singer, Ray Brandes. Brandes screams over his manic maraca work, "You've been stealing all my records and my clothes!". (This was an unforgivable infraction back then). Bacher's chop-chop effects-free guitar (I think he was playing a single pickup avocado green Gretsch Anniversary back then) comes to glorious life on his energy raising guitar lead. Calhoun's swirling Vox Continental organ work shines strongest on the time changes. Klowden's floor-tom heavy drum work and Stax's vrooming Harmony H22 bass show why this band had the best rhythm section in town. (dig on that crazy bass work under the guitar leads).

Unlike contemporaries like the Bangles, The Long Ryders or the Three O'Clock, The Tell-Tale Hearts never broke out of that miniscule circle in their small corner of the world. Truth be told the TTH were too spot-on and too doctrinaire to make it on MTV. But i think that's the way they wanted it. If they had "made it" by industry standards of the day, they would have failed. For better or worse, they were built to be big fish in a small, but cool, pond. Ultimately the water in the pond began to stagnate. Bacher left the band for personal reasons and was replaced by the extremely gifted Peter Meisner, himself a Crawdaddys alumnus. After recording just two stellar songs in this line-up, the band fractured with Meisner, Klowden and Brandes joining with bassist Tom Ward to form a Gram Parsons influenced band called the Town Criers. Stax and Calhoun continued on with a new line-up (and old, as Bacher made a small come back), but it never felt quite the same. How could it? In fact, the San Diego scene never seemed to be the same. Coincidence or not, I don't know.

Click here to listen to The Tell-Tale Hearts perform their original song, Crawling Back To Me.