stooges

Pyongyang Kaengsaeng! - The Dry Retch (Stalingrad) 

The UK owes the world an enduring apology for afflicting it with insipid shit like Robbie Williams, but there are signs of redemption if you look hard.  You’ll find it seeping out of the cracks in footpaths in big cities outside London, where high-energy outsider bands like The Hip Priests (Nottingham) and Black Bombers (Birmingham) hold the line. From one such dark fissure in Liverpool comes The Dry Retch.

You’ll know the back-story if you saw our recent review of their Stooges-obsessed “A Kick in the Gulags” EP. “Pyongyang Kaengsaeng!” (allegedly Korean for “really shitty car” - would Little Rocket Man lie?) is their latest album - and it was launched on the undercard of a 2020 Brian James Q and A in Nottingham, no less. If tender balladry is your thing, look away, now.

_{The original Stooges.}

Ben Blackwell is one of the most important figures to come out of the Detroit music scene in the past 30 years. Whether it be his drumming with the Dirtbombs, his work crewing for and archiving The White Stripes or his running of Third Man Records, Ben is yet another in a long line of significant musical names to have come from the Motor City.

Third Man Records has just dropped the Stooges album “Live at Goose Lake”. Recorded back in August 1970, the show it documents is a seminal and infamous moment in the band’s history. It was the last gig the band played with bassist Dave Alexander.

_{A Stooges Asthma Attack at th Grande Ballroom in1968. Robert Matheu photo.} 

The year 2006 was something of a watershed for fans of high-energy rock and roll of the Detroit variety. The reformed Stooges were in full flight and an historic six-CD, eponymous Sonic's Rendezous Band box set came out on UK label Easy Action.

The box set's executive producer of the box was ROBERT MATHEU, a Detroit-raised and former Creem magazine staff photographer. Sadly, Robert passed away in 2018, but a dozen years before, he told the back-story of the box set to the I-94 Bar - and of course regaled us with stories about the MC5 and the Stooges. 

We're revisiting many of the stories originally published on the I-94 Bar that were archived when we moved virtual location a few years ago. This is one of the trips back in The Time Tunnel. 

_{Photo by Greg Walsh of Grinda Pics}

If they paid musicians retrospectively for being ahead of their time, iconic Australian drummer James Baker would be a billionaire. Picture his teen years growing up in The World’s Most Isolated Capital City (that’d be Perth) at the far end of Australia (that’s Western Australia.)

Sonny Vincent: Primitive 1969-76. Diamond Distance & Liquid Fury - Sonny Vincent (Hozac Archival)

Some would hide their earliest bands’ recordings in a dark place and hope nobody found them. Thankfully, not Sonny Vincent.

As one of the last New York punks still standing, Sonny Vincent criminally remains a well-kept secret. The music he’s made under his own name, and with a string of bands - most notably, Max’s Kansas City and CBGB graduates, Testors - is some of the best primal sound around. This collection of songs from his pre-punk bands, spanning 1969-72, does nothing to detract from that track record. 

These boys come outta the blocks right at your face and do their best to tear it off. So you’re dancing like a middle-aged dickhead in the living room (or I am, anyway), loving the sharp, smart changes, the handclaps, the groove, the bounce and bluster.

Given the band and the song this website is named for (it's not Pinky and Perky, nor New Order, nor The Smiths. Give up..?) it’s almost a no-brainer that you’d probably enjoy “The Sonic Race” EP.

In fact, I’d say this: if you’d never heard Birdman, MC5, Stooges, Dictators or the Dolls … or anyone like them, and you heard The Sonic Race… you would go out and buy an instrument and learn how to play it, and drag people in until you could all go out and play like demons and lay waste the countryside.

Alright, so it seems a little much to have to buy a set when you already have the fuckin' songs, just for one track: "Asthma Attack". Actually, the song seems to be in two halves, which is why this groovy racket is on a 7" single tucked into the front. Never was a 7" of a well-known band (these days) less likely to be a single. You know?

In the liner notes to Rhino’s souped-up reissue/remaster of the Stooges’ wide-eyed, dribbling debut, Detroit native Alice Cooper (whose albums with the original Alice Cooper band are in dire need of a sonic upgrade) confesses that the Stooges were the only band he never wanted to follow largely in part to Iggy Pop’s wild streak of unpredictability.

I'm going to tell you about a little quest of mine; a search for the (not so) Holy Grail. It's a mountain size molehill of my own making and I admit it. But in these dire days of corporate mediocrity - where the alternative has been bought up by the same guys who brought you the thing you were supposed to be the alternative to – a man is defined by his obsessions.

For most of the past 38 years, I ’ve been a true believer, as ready to drink the poisoned Kool-Aid as any cultist has ever been, thinking nothing of seeking the meaning of life and occasional salvation within the grooves of a Stooges record. Have to draw the line at “L.A. Blues,” though. That song just makes me anxious.

Caveman Logic – The Limit (Svart Records)

Trust me on this if you haven’t heard the evidence first-hand: Sonny Vincent’s music punches harder than just about anyone else in the same space.

When those histories of New York punk are written, he and his late-’70s band Testors are never mentioned. Testors didn’t play well with others, in the “industry” sense, and never climbed off the lower rungs of the Max’s-CBGB ladder. History gets written by the few and it’s the way that Vincent has kept the torch of dirty, street-level, rock and roll burning since that really deserves credit.

For 40 years, Sonny’s been punk rock’s ultimate networker, working with members of The Damned, the Stooges, MC5, the Velvet Underground, The Replacements, Dead Boys and too many more to count, always with a vision that’s equal parts visceral power and lingering melody.  

Tributes are pouring in for Stooges drummer Scott Asheton who passed away over the weekend, aged 64.

Sometimes I want to avoid the fact that I'm becoming an old fart. Sadly, talking up the "good old days" is a sign of this. Even so, it seems relevant when talking about today's Sydney, the bands and the live scene. It's how I view the world. 

I remember when I was seeing bands most nights of the week. It was somewhat of an outlaw existence and hard to comprehend it all at just 19-years-old. Back then, anyone over 24 was “old”. The veteran bands were the Sex Pistols and Radio Birdman. Then there was Iggy, who was ancient.

It was the early ‘80s and I was living in Surry Hills in Central Sydney when could you get a room in a shared house hold for $25 a week. There were quality, cutting-edge bands playing within a few minutes’ walk, five nights a week. The Triffids, The End, The Moffs, Salamander Jim, Scientist, The Laughing Clowns, and all that Black Eye art-noise band stuff.  There were venues everywhere - Trade Union Club, Evil Star, French’s, The Strawberry Hills, The Lansdowne and The Hopetoun. Then there were the squat gigs or house parties where everyone put bands on in their lounge rooms. And mostly always, those were free. It’s now all just a faded blur. 

 Devil in Berlin – The Cutthroat Brothers and Mike Watt (Hound Gawd Records)

“Devil in Berlin” is what you get when you pair two punk rock barbers with a Stooge. Say again?

The Cutthroat Brothers are the US garage punk duo of  Jason Cutthroat(guitar/vocals) and drummer Donny Paycheck (Zeke). Their day jobs really are cutting hair and trimming beards. They've roped in legendary bassman par excellence Mike Watt (Minutemen, fIREHOSE, The Stooges).

Duos really are the new black in underground rock and roll and their status as configuration du jour seems sure to escalate as COVID subsides and people realise it’s an economical way to gig and stretches the rider further.. 

And barbers? Dunno about your part of the world, barber shops were never a big thing in Australia. On the other hand, shave shops operated by bearded hipsters are thicker on the ground in our inner-suburban shopping strips than bomb craters in downtown Beirut, so hopefully the blood that the band has wron on previous album covers has come from one of their number.

Well, at least now I know why I didn't buy all those Euroboots of Stoogestuff.

You’ve heard a lot about Stooges guitarist James Williamsons’ stellar “Re-Licked” album here but you may not know that he’s playing it live. The first of what are expected to be selected dates only is at the Bootleg Theater in Los Angeles in January.

Williamson will be joined by guests including Alison Mosshart, Lisa Kekaula, Jello Biafra and Carolyn Wonderland on January 16. Tickets here. 

Straight James did a guest spot with The Icarus Line earlier this month, joining vocalist Joe Cardamone on “Pinpoint Eyes.” 

Every Loser – Iggy Pop (Atlantic/Gold Tooth)

Best Ig album I've heard in a while.

On the other hand, after reading this you may be a bit peeved with me.

Hey, it's just my opinion. You?

You can go jump!

Ha!

Having just finished a review of Michael Plater's new LP, “Ghost Music”, I'm in a kind of “blown away” mood, which I initially thought perhaps isn't the right headspace to be if I'm gonna review Iggy's new LP.

If someone had told you six years ago that a treasure trove of unreleased Stooges recordings had been unearthed and was being carefully restored to listenable quality with the intention of it being legitimately unleashed and wrapped in high-quality packaging, you'd have told them to remove their hand from their pants or switch medication. Not to condemn all of what had gone before under the guise of "semi-official" but most Stoogeaholics had fallen for one sub-par sounding, misleadingly re-named disc too many. Then UK label Easy Action came along and (again) turned perceived wisdom on its head.

Ron Asheton’s local, The Blind Pig in Ann Arbor, is the venue for a tribute show on July 17 to mark what would have been the late ex-Stooges guitarist’s 70^th birthday. Performers will include J Mascis, Don Fleming, Mark Arm, Kim Gordon, Mike Watt, Mario Rubalcaba and Jennifer Herrema. Tickets are available here and proceeds go towards The Ron Asheton Foundation..