Yin and Yang.
I'm writing this on Thursday: Two days before my daughter's wedding, three days after we learned of the passing of Ducky Carlisle. Yin and yang.
For all the stress and nerves attached to the former, it is nonetheless a happy--joyous--event. As I sit at my computer today, I'm also getting set to review last-minute things to address before travel on Friday. I have to finish packing. My new suit is ready, we'll load the car tonight, and we're picking up the flowers en route tomorrow morning. I look forward to Saturday, and to dancing with my wonderful daughter to the sound of our long-ago-agreed-to father-daughter dance, "Bad Reputation" by Joan Jett. As you read these words, I pray that I will find myself looking back at a beautiful weekend of love, family, hope, and promise.
I did not know Ducky Carlisle well. We had many mutual friends, and I think we spoke to each other casually at a few points at various shows over a span of decades. He may or may not have known who I was. Oddly enough, although I've never seen the resemblance, apparently we looked enough alike that there were a few occasions when people started conversations with me, thinking I was Ducky. It's a weird connection to recall.
Of much greater importance is my enduring memory of Ducky Carlisle as a vital member of what I call the Bright Lights community, the late '70s/early '80s Syracuse rockin' pop scene that meant...well, that scene meant so, so much to me. Still does. The music world knew Ducky as a talented and in-demand producer and engineer, a three-time GRAMMY winner for his work with Buddy Guy. Ducky's larger legacy is secure.
But we here in the 315 knew him first as a performer, and as one of us. In the late '70s, Ducky was the drummer with the Ohms, a simply fabulous trio who played a bunch of gigs and recorded some absolutely terrific demos, but only released one great 45 ("Teenage Alcoholic"/"Chain Letter") before splitting. The two tracks on that 45 remain the only Ohms material to ever see the light of day. If you didn't hear the Ohms, you have no idea what you missed.
I only saw the Ohms once, when they joined forces with singer Dian Zain and guitarist Paul Armstrong to form an interim version of the Most, in between that group's first and third (and final) incarnations. Ducky and Ohms guitarist Zenny Caucasian had already recorded the Most's first single "Take A Chance" with Dian and PA in '79, prior to the formation of the Most's first official line-up. Ducky later rejoined the Most at the very end of their original tenure, which transitioned directly into a new group called 1.4.5. PA and Ducky eventually moved 1.4.5. to Boston.
Ducky was a frequent associate of PA's once-and-future combo the Flashcubes. The collaboration was generally about Ducky's studio prowess, but he often sat in on drums too, at times when original drummer Tommy Allen wasn't able to participate. Those were usually for live 'Cubes gigs in the '90s and beyond (including a lightning tour of Japan), but Ducky also kept the beat for PA, guitarist Arty Lenin, and bassist Gary Frenay on a handful of Flashcubes recordings, commencing with a cover of Paul Collins' Beat's "All Over The World" in the early '90s--the first new Flashcubes recording since the group terminated its original run at the end of the '70s, the end of the century.
Ducky Carlisle. A bright light then, and a bright light since. The light does not dim with his passing. We mourn anyway.
This week, we wanted to pay some sort of tribute to Ducky. Specifically, we wanted to spotlight Ducky in the role that introduced him to us in the '70s: Drummer. Performer. Yeah, as a Bright Light among Bright Lights. The playlist below contains evidence of his work at the studio controls, sure, collaborating with the likes of Fireking and Michael Oliver and the Sacred Band. But we also get to hear Ducky Carlisle playing. With the Ohms. With the Most. With 1.4.5. With the Flashcubes. With Jack "Penetrator" Lipton and Mandy Moore and the Major Labels and L.E.O. The beat goes on.
Yin and yang. For my family, October holds some happy memories, and it brings us recollections of loss, and of a devastating tragedy that I will never fully get over. We raise a glass. We toast. We dance. Here's to you, Ducky. Here's to you, Meghan and Austin. Neither yin nor yang will stop us from seeking a brighter light.
This is what rock 'n' roll radio sounded like on another Sunday night in Syracuse this week.
This Is Rock 'n' Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, streaming at SPARK stream, and on the Radio Garden app as WESTCOTT RADIO. Recent shows are archived at Westcott Radio
You can read all about this show's long and weird history here: Boppin' The Whole Friggin' Planet (The History Of THIS IS ROCK 'N' ROLL RADIO).
TAX DEDUCTIBLE DONATIONS are always welcome.
MANDY MOORE: I Could Break Your Heart Any Day Of The Week (Storefront, Amanda Leigh)
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NEW MATH: Die Trying (Propeller Sound Recordings, Die Trying & Other Hot Sounds [1979-1983])
THE FOUR TOPS: Standing In The Shadows Of Love (Motown, The Ultimate Collection)
JUNIPER: Baby Doll (Confidential Recordings, She Steals Candy)
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THE HOLLIES: Look Through Any Window (EMI, All The Hits And More)
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THE FLASHCUBES: All Over The World (Northside, Flashcubes Forever)
THE DANGERMEN: Shipwrecked (Wild Eagle, Summer Of Danger)
HOLLY & THE ITALIANS: Tell That Girl To Shut Up (Wounded Bird, The Right To Be Italian)
1.4.5.: Your Own World (Kool Kat Musik, VA: This Is Rock 'n' Roll Radio, Volume 4)
THE OHMS: Teenage Alcoholic (Northside, single)
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