iggy & the stooges - The I-94 Bar
What a fucking great title. Almost as good as The Clash's "All the Young Punks" - itself a take on that Bowie song "All the Young Dudes" - wonder how many 1977 punks got that? Even though it was right in their alley?
You know how, during summer, assorted neighbours will play loud music, usually horrible, and, when the hours wind down and the drink begins to blur the world, they get maudlin and soppy and play those lachrymose ballads...? Sure you do. Well, when this happens at 230 am, that is your cue to dash over, swap their copy of Kamahl's Greatest Hits with any one of these three discs, flick the switch and revel in their dismay.
Either that or, rather suddenly, the party's on again and the police want to know your personal details. Again.
Cherry Red describe this collection as "60 tracks of the finest slices of JSG in its various guises, as established by collectors around the world over the past decade. Including tracks from the USA, New Zealand, Netherlands, Sweden, Iceland, Australia as well as homegrown UK. Some previously unreleased, many first time on CD."
These are quite remarkable recordings. Yes, you've heard rehearsal tapes and demo recordings by garage bands before, but these are different. It's all about the timeframe, the intensity and the fact that they're Australian and were recorded in relative cultural isolation.
“Dumb-World” is a serious collection of raw demos and rehearsal tapes from future Sacred Cowboys leader Garry Gray and his early bands between 1974-1978, featuring Judas and the Traitors, The Reals and The Negatives.
To place this in a historic context, the Australian musical landscape was fairly frigid. The local artists’ soundtrack was blaring from commercial AM radio, but it that was drab even though the live scene was flourishing and there were so many gigs for local musicians to play.
The question’s already been posed by a few people whether they really do need yet another compilation of Stooges material. It’s a rhetorical query so I’ll lay out the facts and allow you to judge for yourself.
Let’s kick off by saying that a lot of crap is released under the auspices of Record Store Day. What was once a marketing platform for the little guys, the ever-diminish number of independent bricks and mortar stores, has morphed into another channel for the big boys - they’d the the major labels - to peddle all manner of shit.
There are outtakes and alternative versions ad infinitum buzzing about like flies on sherbet, but RSD more often than not seems to be about exploiting the fetishists’ love of anything on vinyl. "Heavy Liquid" is not amongst that crap.
The last Iggy and the Stooges show. Michelle Dawn Saint Thomas photo.
I was oblivious to it at the time but the signs were all around. The counter-culture scene in early '70s Detroit was in a state of free-fall, towards a tragic demise from its epic creative height of the '60s.
Plum Street's attempted bohemian arts colony had completely collapsed, along with efforts by local artists to establish a street fair on Woodward Avenue similar to that in Montreal. The existing brick and mortar business were strictly opposed to this effort, in the belief that when people came downtown the local artists would seize profits from the larger stores of the establishment.
Problem was, people were just not venturing downtown like they used to. Life had changed. Two major aspects, one, the “white flight” exodus, and two, the high crime rate, were keeping people away from Detroit. Plus, something new was on the horizon: the suburban shopping mall. Why travel beyond your neighborhood community when all could be found locally?
This is part two of Michelle Dawn Saint Thomas's LSD-fuelled re-iiving of the notorious final Iggy & the Stooges show at the Michigan Palace in 1974. Part one is here.
The entire theater had become a massive downpour of flying objects. Everything from cans, bottles and coins were being thrown up onto the stage. The situation became contagious; soon random missiles were airborne everywhere throughout the hall.
The Palace now was half vacant and nearly everyone that remained was either clamoring to get closer to the stage for purposes of their own agendas, or rapidly exiting the venue. The stage itself looked a terrible sight, unsuitable for even the most daredevil of performers to be upon it at all.
Total chaos reigned supreme.
Another one has passed. Hot on the heels of Norton Records co-founder Billy Miller comes news of the loss of Los Angeles writer, scenster and proto-punk singer Don Waller.
A founding member of the semi-legendary "Back Door Man" fanzine and indie record label, Waller had written extensively for Mojo, USA Today, Billboard, Variety, Radio & Records, L.A. Weekly, L.A. CityBeat and the Los Angeles Times.
The second-generation LA native was the author of best-selling "The Motown Story" (Scribner's, 1985). Waller also wrote more than 40 sets of liner notesand was a consultant to TV co ntent providers.
Long before that, Waller was a member of proto-punk outfit the Imperial Dogs -- who wrote and recorded the original version of "This Ain't The Summer Of Love", later re-recorded by Blue Oyster Cult. The band recently unearthed an hour-long video performance, "The Imperial Dogs: Live! In Long Beach (October 30, 1974)", released in 2009 and available from theimperialdogs.com
Don is survivied by his partner Natalie Nichols. To honour Don Waller's passing, we've unearthed this September 2009, interview by leading Australian documenter of the pre-and-punk scenes, former Dog Meat Records owner David Laing.
After collaborations for singles with Petra Haden (“Blues Jumped The Rabbit”), Lisa Kakuala (“I Love My Tutu”) and Maia (“Sickkk”) in the last six months, ex-Iggy & the Stooges guitarist James Williamson is poised to release an acoustic EP with Radio Birdman’s Deniz Tek.
“Acoustic KO” is being released digitally and as a vinyl EP on March 31. The track listing is “I Need Somebody”, “Penetration”, “Night Theme” and “No Sense Of Crime” and you shouldn’t need to be told that the first two come from “Raw Power” and the others from the Williamson-Pop “Kill City” album. Tek provides vocals and guitar on three cuts and Williamson contributes guitar (naturally) but expect acoustic drums, guest singers and an orchestra in there too.