This Is Rock 'n' Roll Radio # 841

One of the many great things about doing This Is Rock 'n' Roll Radio is that, even when we don't have much in the way of plans, the playlist just kinda takes care of itself anyway. This week, we had a couple of fab new releases from the great Kool Kat Musik label (Rob Clarke & the Wooltones and an archival live release from The Monos), new music from Chandler Travis Philharmonic, new music from Michael Carpenter, and our second-ever spin of a new track from The Legal Matters. Fine. We can build on that. Then we received another brand-new track, Gary Frenay's ace Wilburysesque take on "Moonraker" (from Andrew Curry's forthcoming James Bond tribute album, Songs. Bond Songs: The Music Of 007). Well! Puttin' this show together was gonna be a snap!

Y'know. Except for the big, gushing leak in the studio's ceiling on this wet and rainy evening. See, Westcott Radio ain't allowed to have any luck unless bad luck's involved, too. We soldiered squishily on nonetheless. We're troupers. Really, really wet troupers.

Give us shelter from this storm, awready! Your tax-deductible donation is our umbrella when the rain comes and we run and hide our heads: all tithes, large and small, are gratefully accepted at http://sparksyracuse.org/support/ Generous donors who fork over $100 or more get to program the music for a future episode of This Is A Rock 'n' Roll Radio! And this is what rock 'n' roll radio sounded like in our soggy li'l studio on a Sunday night in Syracuse this week.

This Is Rock 'n' Roll Radio with Dana & Carl literally streams live every Sunday night from 9 to Midnight Eastern, exclusively at www.westcottradio.org Um...weather permitting.

(Oh--and how do we do when we're under duress? Check THIS!:)

TIRnRR # 841: 9/18/16

THE RAMONES: Do You Remember Rock 'n' Roll Radio? (Rhino, End Of The Century)
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THE ANDERSON COUNCIL: Girl On The Northern Line (Jem, Assorted Colours)
THE BEACH BOYS: Good Vibrations (Capitol, Good Vibrations)
ARROGANCE: Southside Girl (Gaff, The 5' 11" Record)
SANDY DENNY: It's A Boy (Ode, VA: Tommy)
WEDNESDAY WEEK: Why (Enigma, What We Had)
THE BANGLES: Mary Street (Omnivore, Ladies And Gentlemen...The Bangles!)
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GARY FRENAY: Moonraker (n/a, VA: Song. Bond Songs: The Music Of 007)
ELVIS COSTELLO & THE ATTRACTIONS: Accidents Will Happen (Rylodisc, Armed Forces)
MICHAEL PENN: No Myth (BMG, March)
THE BEATLES: Rain (Apple, Past Masters)
THE MONKEES: Birth Of An Accidental Hipster (Rhino, Good Times!)
THE KINKS: Everybody's Gonna Be Happy (Sanctuary, The Ultimate Collection)
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ROB CLARKE & THE WOOLTONES: Iron Eyes Cody (Kool Kat Musik, Are You Wooltoned?)
WRECKLESS ERIC: (I'd Go The) Whole Wide World (Stiff, Wreckless Eric)
VINYL CANDY: Movin' On (Vinyl Candy Army, Pacific Ocean Park)
EDDIE & THE HOT RODS: Do Anything You Wanna Do (Captain Oi!, The Singles Collection)
BOBBY WOMACK: Sweet Caroline (Good Times Never Seemed So Good) (EMI, Midnight Mover)
THE ONLY ONES: Another Girl, Another Planet (BMG, Another Girl, Another Planet)
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THE MONOS: Clair's A Liar (Kool Kat Musik, Live '78)
THE NERVES: Walking Out On Love (Alive, One Way Ticket)
THE VAN DeLECKI'S: What's Wrong With YoYo? (Permanent Press, Letters From The Desk Of Count S. Van DeLecki)
THE YARDBIRDS: Over Under Sideways Down (Warner Archives, BBC Sessions)
CHANDLER TRAVIS PHILHARMONIC: Make Yourself Happy (chandlertravis.com, Waving Kissyhead, Vol. 1)
IGGY POP: Real Wild Child (Virgin, A Million In Prizes)
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MICHAEL CARPENTER: Welcomed Here (Big Radio, S.O.O.P. # 6)
COURTNEY BARNETT: Elevator Operator (Mom + Pop, Sometimes I Sit And Think, And Sometimes I Just Sit)
LINDA RONSTADT: You're No Good (Rhino, Greatest Hits I & II)
THE ROLLING STONES: Happy (Rolling Stones, Exile On Main Street)
TOMMY BOYCE & BOBBY HART: Alice Long (You're Still My Favorite Girlfriend) (Varese Sarabande, VA: The Songs Of Tommy Boyce And Bobby Hart)
DAVID BOWIE: Queen Bitch (Virgin, Bowie At The Beeb)
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THE LEGAL MATTERS: She Called Me To Say (Omnivore, Conrad)
SWEET: Fox On The Run (Capitol, The Best Of Sweet)
PARANOID LOVESICK: Supersonic (Futureman, Suburban Pop Allegro)
SWEET: Action (Capitol, The Best Of Sweet)
SAM & DAVE: Soul Man (Atlantic, VA: The Complete Stax/Volt Singles 1959-1968)
SWEET: The Ballroom Blitz (Capitol, The Best Of Sweet)
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THE MONKEES: Love Is Only Sleeping (Rhino, Pisces, Aquarius, Capricorn & Jones, Ltd.)
THE PRETENDERS: Message Of Love (Sire, Pretenders II)
THE FORTY NINETEENS: Disguise (Rock Ranch, Rebooted)
CHRIS BELL: You And Your Sister (Rykodisc, I Am The Cosmos)
THE RAMONES: Needles And Pins (Rhino, Road To Ruin)
THE JAM: In The City (Polydor, Direction Reaction Creation)
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ARTFUL DODGER: Not Enough (Pendulum, Honor Among Thieves)
SPLIT ENZ: Six Months In A Leaky Boat (A & M, History Never Repeats)
PETER, PAUL & MARY: Too Much Of Nothing (Warner Brothers, The Best Of Peter, Paul & Mary)
DENNIS WILSON: River Song (Caribou, Pacific Ocean Blue)
THE SPONGETONES: Invisible Girl (Loaded Goat, Too Clever By Half)
THE BEVIS FROND: He'd Be A Diamond (Fire, New River Head)
JOAN JETT & THE BLACKHEARTS: Love Is Pain (Blackheart, I Love Rock 'n' Roll)
BIG STAR: September Gurls (Big Beat, VA: Thank You, Friends)
THE BAY CITY ROLLERS: Rock And Roll Love Letter (Arista, The Definitive Collection)
THE BEATLES: I Want To Hold Your Hand (Apple, Live At The Hollywood Bowl)
ROB CLARKE & THE WOOLTONES: Mind The Gap, Eastern Region (Kool Kat Musik, Are You Wooltoned?)

POSTSCRIPT: Honest to Alan Freed, I'll put our rain-soaked playlist up against anybody, no matter how dry they are!) 

Tonight on THIS IS ROCK 'N' ROLL RADIO

NEW MUSIC FROM GARY FRENAY! The once and future Flashcube has recorded a new track for a forthcoming James Bond tribute album. Gary says: "Our approach was to pretend we were Jeff Lynne producing a Traveling Wilburys version of 'Moonraker," with Lynne hallmarks like driving acoustics, and tight, compact backing vocals, mixed with George Harrison-like slide guitars and Orbisonian vocal climaxes." It goes on the radio tonight--we have a license to thrill!

We also have a license to play new music from Rob Clarke & the Wooltones, Chandler Travis Philharmonic, and The Legal Matters, plus a new archival live track by The Monos? The rest of our three-hour show? Tabula rasa, baby! Listen to us build a better radio show Sunday night, 9 to Midnight Eastern, www.westcottradio,org

ROCK 'N' ROLL LOVE LETTER (and Love Letters To Rock 'n' Roll)

The very first post on Boppin' (Like The Hip Folks Do) was a love letter to rock 'n' roll, an open letter I wrote to the late  David Bowie when he passed away. I was surprised by how much Bowie's death affected me, so I wrote the letter as an attempted catharsis. And then I started this blog as a place to share that kind of stuff. I don't know what my initial intentions were for the blog, but some folks--notably my This Is Rock 'n' Roll Radio co-host Dana Bonn and Gary Frenay of The Flashcubes, among a few others--had been pushing me for ages to start blogging. So I guess the time had finally come to follow through. I determined that if I was going to do this, I would commit myself to posting something every day; it's too easy to slack off without that specific commitment. This is my 259th published blog post; I've written more in the past eight months than I've ever written in any comparable time frame before. Even when I was freelancing regularly, I never wrote as much as I've written this year. And it all started with a love letter to rock 'n' roll.




While one could certainly say that this blog is itself a series of love letters to rock 'n' roll, superhero comic books, radio, and Suzi Quatro, a website called Love Letters To Rock n' Roll proudly proclaims such a-rockin' and a-boppin' passion as its titular raison d'etre. Let's face it: our hearts look their spiffiest when worn on our sleeves. I have always thought that the best pop journalism serves as an unfettered advocate for its chosen point of view; if you're gonna write about something--The Bay City Rollers, The Ramones, power pop, Toots & the Maytals, Liz Phair, Motorhead, Sam & Dave, The Ventures, Prince, Wanda Jackson, Little Richard, Big Star, bubblegum, Gladys Knight & the Pips, KISS, or Dave Dee, Dozy, Beaky, Mick & Tich--why let something as banal and boring as objectivity get in your way? Participate. Advocate. You'll enjoy it more, and your readers will enjoy it a lot more.



The good folks behind Love Letters To Rock n' Roll understand this well. And their mission statement does a damned good job of 'splainin' it: 

"Love Letters to Rock n’ Roll has one main objective: to provide a forum where music obsessives can openly express their love.

"Geez, there are so many music journalists these days! So many album reviews of bands you have heard of and have never heard of, who you might listen to and you might forget to listen to, and who you might listen to and then forget that you did listen to. We don’t need any more reviewers or reviews. Lester Bangs perfected that art years ago and now he is probably rolling over in his grave in one continuous never ending rotation of disgust for the current state of music journalism. Isn’t the entire point of music, of art, to create a reaction? Perhaps an emotional reaction? Let’s celebrate those emotional reactions on this forum!

"This is the place where you can gush eloquently—or not so eloquently—about anything connected to music that has caused a positive reaction in you, including but not limited to a/an: band, songwriter, producer, studio, contributing artist/musician, album, A-side, B-side, musical instrument, piece of equipment, venue, particular show, lyric or snippet from a song.

"This is the place to write what you wanted to say to that band after their show but never had the guts (or the opportunity) to do so. You are not required to temper your communication. Go nuts! Open up your heart and let it gush out into one tiny fragment of the oceanic internet."

Gush. I think I just fell in love with a website.

I first heard of Love Letters To Rock n' Roll via a Facebook message from Christine Collister, one of the site's sinister visionaries, soliciting me to maybe possibly write a love letter to rock 'n' roll. I loved their concept--I've been writing love letters to rock 'n' roll for more than thirty years!--and I was delighted that Christine was willing to run an excerpt of my screed about The Monkees' hypothetical induction into The Rock And Roll Of Fame. 

While Boppin' (Like The Hip Folks Do) only reflects my own feverish obsessions, Love Letters To Rock n' Roll is a true community project, publishing heartfelt missives from a growing legion of unabashed fans, fans of...well, what have you? John Cougar Mellencamp! Pet Sounds! The Beastie Boys! Kathleen Hanna! Harry Nilsson and Randy Newman! Insert your fave rave here. In fact, do insert your fave rave here: https://loveletterstorocknroll.com/submissions/; Love Letters To Rock 'n' Roll operators are standing by--well, not really standing by; more like jumpin' up and down while playing Otis Redding and Generation X records really, really loud! And they're ready--ready, ready teddy, awready--to read your enthusiastic, unashamed message of love.

Enthusiasm. Advocacy. Passion. And, as always around here, belief. That's my rock 'n' roll love letter; gonna sign it, gonna seal it, gonna mail it away.

 

Yes, I got your letters. Please stop sending them...!

Monkees week: The porpoise is laughing, goodbye, goodbye....

This past Monday was the 50th anniversary of The Monkees TV series, which debuted on NBC at 7:30 (6:30 Central) on September 12th, 1966. The series ran for just two seasons, The made-for-TV rock 'n' roll group didn't merely blur the line between fantasy and fact--they variously scuffed it, defaced it, ignored it, piddled on it, and said rude things about it. They made records. They did concert tours. They made a movie. They made a TV special. They broke up. They reunited. They transcended any reasonable expectation of what they could or couldn't be. In the words of Michael Nesmith, We're The Monkees. That's all we've ever had to be.



Davy Jones left us mere mortals behind in 2012. This year, the surviving Monkees--Nesmith, Micky Dolenz, and Peter Tork--made a wonderful new album called Good Times!, and Dolenz and Tork hit the road for a 50th Anniversary tour. Nesmith made cameo appearances at two of their shows, one via Skype and one in person. On Wednesday and Thursday of this week, when a family emergency forced Tork to cancel his participation in a pair of Arizona shows, Nesmith stepped in as a substitute. And tonight, Peter Tork is expected to rejoin Micky and Michael in Los Angeles for a show that is widely presumed to be Michael Nesmith's last-ever appearance as a Monkee.




Unless, y'know, they get invited to perform next year at The Rock And Roll Hall Of Fame. I'm just sayin'.

But this feels like the end of an era....because it is the end of an era. I would be remiss if I didn't take a moment of this blog's time to mention it. Like my pal Rich Firestone often says, The Monkees have been good to me. Thank you, Monkees. Thank you Michael, and Davy, and Peter, and Micky, and all the people behind the scenes, too. I cannot imagine how different my life would be if not for The Monkees.



This Is Rock 'n' Roll Radio's 50 YEARS OF THE MONKEES special is available for download at Westcott Radio. You can continue to follow The Monkees, past and present, at Monkees Live Almanac and monkees.net, and my above-linked piece on The Monkees and The Rock And Roll Of Fame was excerpted today at the Love Letters To Rock 'n' Roll website. I don't do Twitter, but if you do, remember to save the Texas Prairie Chicken...er, remember #inductthemonkees.

I've written quite a bit about The Monkees here in Boppin' (Like The Hip Folks Do), and quite a lot before that in Goldmine and in the weekly playlists for This Is Rock 'n' Roll Radio. Here's a chronological list of my main Monkees posts on this blog:

THE MONKEES: Good Clean Fun (The Great Monkees Bubblegum Debate, with Gary Pig Gold)
Goldmine Monkees reissue reviews
Goldmine Justus review
SHE MAKES ME LAUGH: The Monkees' U.S. Singles
THE MONKEES BRING THE SUMMER: A Girl I Knew Somewhere
Me & Magdalena
O' CANADA! (Canada Loves The Monkees, The Monkees Love Canada)
GOOD TIMES! review
THIS IS ROCK 'N' ROLL RADIO: Davy Jones
THE MONKEES: GOOD TIMES! The Bonus Tracks, The Second Guesses
RECONSIDERING THE MONKEES, Part 1: Rows Of Houses That Are All The Same
RECONSIDERING THE MONKEES, Part 2: Only True In Fairy Tales
RECONSIDERING THE MONKEES, Part 3: Walking Down The Street
RECONSIDERING THE MONKEES, Part 4: Hall Of Fame
THE MONKEES: Welcome To The Rock And Roll Hall Of Fame
THIS IS ROCK 'N' ROLL RADIO: 50 Years Of The Monkees

And it looks like we've made it to the end.



 

BOPPIN' Comes Alive!

Live albums can carry a special fascination for rockin' pop fans. Though I generally prefer the finished pop product of a studio track (and my younger, purist rock 'n' roll self would likely strike me for thinking that), there's something exciting about a document of rock 'n' roll played live. Sure, many--maybe most--of our cherished live albums have benefited from a little studio sweetening, but the live feel is there, and that's what counts.

The first live album I remember at all was my sister's copy of The Live Kinks, the only Kinks record in the household collection when I was a teenager. I didn't pay much attention to it--the only Kinks song I knew was "Lola," and The Live Kinks certainly predates that--but I did occasionally try to play The Kinks' live version of "The Batman Theme," because, y'know...Batman! That track was part of an in-concert medley on The Live Kinks, so it was tricky to isolate the track and ignore "Milk Cow Blues" and "Tired Of Waiting For You," neither of which interested me at the time. (And yes, my contemporary self would surely strike pissant li'l young me for not recognizing the brilliance of "Tired Of Waiting For You" a bit earlier in the timeline.)



My sister also owned a copy of the second Woodstock collection, and a live Procol Harum record. I've been trying to remember the first live record that was specifically mine, and I think I have to go all the way up to senior year in high school, spring of '77, and the release of The Beatles At The Hollywood Bowl. That album was the first time I ever rushed to the record store to buy an album on its release, and I loved that record. The Beatles live? Yeah. Yeah, I'm in. I haven't yet heard the new CD reissue (re-titled Live At The Hollywood Bowl), though I've read the complaints that it's just a straightforward, unvarnished reissue, not the remixed, re-vitalized concert document we were promised. I'll get it soon anyway. Live Beatles!



My second live album was probably Got Live If You Want It! by The Rolling Stones, or perhaps The Cowsills' In Concert, both purchased used in that same spring of '77 for fifty cents each at Mike's Sound Center in North Syracuse. Later that year, I succumbed to (imaginary) peer pressure and joined the bazillions of people who owned a copy of Frampton Comes Alive! Even just typing that sentence bores me. I received KISS's Alive II as a Christmas gift that year (and my main interest was one of the studio tracks, a cover of "Any Way You Want It" by The Dave Clark Five). I subsequently picked up a used copy of its predecessor, Alive!, on a trip to Cleveland somewhere in there, too.







And my acquisition of live records is just a blur after that. My friend Tom turned me on to The Runaways' Live In Japan; the others that meant the most to me were The Ramones' It's Alive!, The Heartbreakers' Live At Max's Kansas City '79, Cheap Trick At Budokan, and a bootleg cassette of The Flashcubes live in '78. I had some bootlegs of live stuff by The Sex Pistols, The New York Dolls, and Elvis Costello & the Attractions, and two separate sets of neighbors in the '80s turned me on to James Brown's Live At The Apollo and Otis Redding's Live In Europe.

The live album I wished for most was a live Monkees album; resurgent Monkeemania granted that wish in 1987, with the release of Live 1967, which I adored in all its rough 'n' ragged glory (and which I later upgraded to a 3-CD Rhino Handmade edition). Later in 1987, I attended a Monkees concert and discovered a new Monkees live album, 20th Anniversary Tour Live, recorded the previous year and sold only at concessions on the '87 tour. In those days before social media, most people didn't even know the album existed. In fact, when I reviewed the album for Goldmine, I had to prove its existence to editor Jeff Tamarkin before he would run the review! That's the only time in twenty years as a Goldmine freelancer I ever had to do that.



My few remaining Holy Grail albums include one live record, a 2-LP set of The Bay City Rollers's mid-'80s reunion tour of Japan. I'd still love to hear that one, but I do already have a Rollers live album (also from a Japanese concert, but from the '70s rather than the '80s). That makes it a lot easier to live without the rare--and presumably pricey--'80s set.



I still get the occasional live CD--cool, relatively recent releases from The Grip Weeds and Lannie Flowers come to mind--and I'm sure there are many, many more to come. And I recently listened to Alive! and Alive II, the first two KISS live albums, for the first time in years. And they kick. I still love it live.

THE EVERLASTING FIRST: Quick Takes For F

Continuing a look back at my first exposure to a number of rock 'n' roll acts and superheroes (or other denizens of print or periodical publication), some of which were passing fancies, and some of which I went on to kinda like. They say you never forget your first time; that may be true, but it's the subsequent visits--the second time, the fourth time, the twentieth time, the hundredth time--that define our relationships with the things we cherish. Ultimately, the first meeting is less important than what comes after that. But every love story still needs to begin with that first kiss.

THE FANTASTIC FOUR



No idea! I first saw images of The Fantastic Four in Marvel's house ads in (I'm guessing) 1966, the year I developed my life-long mania for superheroes. I watched the 1967 Saturday morning TV cartoon when I could, and I picked up a Fantastic Four comic book in there at some time. I do remember trying to figure out the characters' names; I got The Human Torch, I think I figured out The Thing and Invisible Girl, but I couldn't suss out the name of the elastic fantastic guy who seemed to be the boss. The other characters called him "Stretcho," so it took me a while to realize he was supposed to be Mr. Fantastic. Although it definitely wasn't my first issue, I vividly remember a 1968 FF with guest-stars Thor, Daredevil, and Spider-Man. Artist Jack "King" Kirby made those pages come alive! A couple of years ago, I re-read the mid-to-late '60s run of Fantastic Four, and it held up as just incredible, well-done comics done by creators at the top of their game. Writer Stan Lee always billed this as "The World's Greatest Comic Magazine!" He was right. And Lee and Kirby were fantastic.

THE FLASH


I first saw The Flash near the end of Justice League Of America # 55 in the summer of '67; this was also my very first issue of JLA. The story continued into the next issue, and The Flash was also featured in JLA # 57's "Man, Thy Name Is Brother!" I saw The Flash cover-featured with The Spectre in an issue of The Brave And The Bold, but didn't get to read that comic until many years later. The Flash was one of the revolving guest stars on the Saturday morning cartoon show The Superman-Aquaman Hour Of Adventure that fall. My first Flash comic book was Flash # 174 in 1967.

FOOLS FACE



Because I spent so many summers visiting my grandparents in Southwest Missouri, I took special notice in the early '80s when Trouser Press magazine mentioned Fools Face, a great band from Springfield, Missouri. Much later, I'd also discover The Morells/The Skeletons, who were also from Springfield, but I learned about Fools Face first. Trouser Press also provided me with my first opportunity to hear Fools Face; TP subscribers like me used to receive an exclusive flexi-disc with each new issue of Trouser Press, and one month that flexi-disc was Fools Face's "L5" and "Public Places." While I wasn't blown away, I was blown away soon enough. In '82 or '83, rummaging in the used bin of a record store at University Plaza in Buffalo, I found a copy of Tell America, the second album by Fools Face. "L5" was the only song I knew on the album, but I was transfixed on first spin of the LP.  My copy of Tell America remains the only copy of it that I've ever seen. I searched for years and years to find the rest of the Fools Face catalog, but these prizes were elusive. In the '90s, a new online pal named Keith Klingensmith gifted me with a copy of the band's first album, Here To Observe, some other friend--I forgot who!--made me a cassette copy of the Public Places album, and later someone made me a CD-R of Fools Face's extremely hard-to-come-by cassette-only release The Red Tape. I eventually scored a copy of Public Places at a record show, and was thrilled when Fools Face reunited for a brand-new (and terrific) eponymous album. There has also been a vintage live Fools Face performance issued on CD, but the original studio material remains long out of print, seemingly never to be reissued. That's a shame; Tell America remains one of my all-time Top 20 albums, probably Top 10.

THE FOUR SEASONS



"Big Girls Don't Cry." That falsetto was all over AM radio in the early '60s. I was two, and I remember it!

THE FOUR TOPS

It surely seems like I must have heard The Four Tops' cavalcade of Motown hits in the '60s, but my first conscious memory of them is "Are You Man Enough" from the film Shaft In Africa. "Are You Man Enough" was an AM radio hit in the '70s; I later went back to rediscover The Four Tops' Motown treasures, and The Four Tops remain my favorite Motown group.

FUNNYMAN



Someday I will write at length about my trip to New York City in 1976, when I attended the Super-DC Con. For now, suffice it to say that I met Superman creators Jerry Siegel and Joe Shuster, and I bought an issue of their late '40s creation Funnyman in the dealer's room. No one ever seems to have a positive word to say about Funnyman, but I loved The Daffy Daredevil, who was kinda like a superhero Danny Kaye. I did not have an opportunity to ask Siegel and Shuster to autograph my copy of Funnyman # 5, but I did get their autographs in my Super-DC Con program book.

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Our new compilation CD This Is Rock 'n' Roll Radio, Volume 4 is now available from Kool Kat Musik! 29 tracks of irresistible rockin' pop, starring Pop Co-Op, Ray Paul, Circe Link & Christian Nesmith, Vegas With Randolph Featuring Lannie Flowers, The Slapbacks, P. Hux, Irene Peña, Michael Oliver & the Sacred Band Featuring Dave Merritt, The Rubinoos, Stepford Knives, The Grip Weeds, Popdudes, Ronnie Dark, The Flashcubes,Chris von Sneidern, The Bottle Kids, 1.4.5., The Smithereens, Paul Collins' Beat, The Hit Squad, The Rulers, The Legal Matters, Maura & the Bright Lights, Lisa Mychols, and Mr. Encrypto & the Cyphers. You gotta have it, so order it here.